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CATALOGUE 

of  the 

W.  P.  WILSTACH 
COLLECTION 


'8? 


FAIRMOUNT  PARK 
PHILADELPHIA,  PENNSYLVANIA 
1922 


FRONTISPIECE 

Bust  of  Mr.  Wiustach 


CATALOGUE 

of  the 

W.  P.  WILSTACH 
COLLECTION 


MEMORIAL  HALL 


PUBLISHED  BY  THE  COMMISSIONERS  OF 
FAIRMOUNT  PARK 
PHILADELPHIA,  PENNSYLVANIA 
1922 


COMMISSIONERS 
OF  FAIRMOUNT  PARK 

E.  T.  Stotesbury,  President 
Eli  Kirk  Price,  Vice-President 
Sidney  W.  Keith,  Treasurer 
William  Findlay  Brown 
Carleton  E.  Davis 
James  Elverson,  Jr. 

Robert  Glendinning 
Theodore  Justice 
Emory  McMichael 
J.  Hampton  Moore 
Charles  B.  Penrose 
John  A.  Vogelson 
Richard  Weglein 
Joseph  Widener 


COMMITTEE  ON  WILSTACH  BEQUEST 

Joseph  Widener,  Chairman 
Carleton  E.  Davis 
Sidney  W.  Keith 
Emory  McMichael 
J.  Hampton  Moore 
Charles  B.  Penrose 


iii 


TABLE  OF  CONTENTS 


Illustrations vii 

Preface xi 

Introduction xv 

Explanatory  Remarks  and  Definitions ....  xxi 

Abbreviations xxiii 

Catalogue  of  the  Paintings 1 

Catalogue  of  the  Bronzes 143 

Catalogue  of  the  Marbles 145 


I-  ‘ •{/  " 


LIST  OF  ILLUSTRATIONS 

Bust  of  Mk.  Wilstach Frontispiece 

PLATE  FACING 

1.  John  W.  Alexander  page 

Portrait  of  Fritz  Thaulow 2 

2.  Jules  Bastien-Lepage 

In  the  Fields 4 

3.  Joos  VAN  der  Beke  / 

Portrait  of  a Man  (Sebastian  Munster  ?) 6 

4.  Rosa  Bonheur 

Barbara  after  the  Hunt 10 

5.  Bonifazio  I,  Veronese 

Santa  Conversazione  or  Holy  Family  in  a Landscape 11 

6.  Richard  Parkes  Bonington 

A Landscape  in  Normandy 12 

7.  Jules  Breton 

Burning  Tares  in  a Wheatfield 14 

8.  Giulio  Campi 

A Portrait  of  a Lady 20 

9.  Mary  Cassatt 

Woman  and  Child  Driving 22 

10.  William  M.  Chase 

Still-Life. 23 

11.  John  Constable  ' 

The  Old  Chain  Pier,  Brighton 26 

12.  Camille  Corot 

Landscape 27 

13.  Vittorio  Crivelli 

The  Madonna  with  Saints  (Center  Panel) 30 

14.  Vittorio  Crivelli 

The  Madonna  with  Saints  (Side  Panels) 31 

15.  John  Crome 

Hay  Barges  on  the  Yare 32 

16.  Albert  Cuyp 

Cows,  with  a Milkmaid  and  Sleeping  Herdsman 33 

vii 


PLATE  FACING 

17.  Charles  Francois  Daubigny  page 

Landscape 34 

18.  Edqard  Degas 

A Jockey 38 

19.  Narcisso  Diaz 

Venus  and  Cupid 39 

20.  Sir  Anthony  van  Dyck 

Christ  on  the  Cross 45 

21.  Eug^:ne  Fromentin 

Arabs  on  Horseback . 60 

22.  Jan  Fyt 

Fruit  and  Game 61 

23.  Thomas  Gainsborough 

Landscape 62 

24.  Jan  van  Goyen 

View  of  Dordrecht 63 

25.  Melchior  D’Hondekoeter 

The  Poultry  Yard 62 

26.  George  Inness 

Short  Cut,  Watchung  Station,  N.  J 63 

27.  Philips  de  Koninck 

View  of  the  Elterberg  near  Kleef 68 

28.  Sir  Thomas  Lawrence 

Portrait  of  King  George  IV 69 

29.  Leon  Augustin  L’Hermitte 

Harvesters  at  Rest 70 

30.  CoRNELis  Lelienbergh 

Finches 71 

31.  Pietro  Longhi 

The  Engagement  of  a Singer 74 

32.  Macrino  d’Alba 

The  Madonna  and  Child  with  Saints 75 

33.  Edouard  Manet 

Marine 76 

34.  Jean  Franqois  Millet 

Solitude 82 

viii 


PLATE  FACING 

35.  Claude  Monet  page 

View  of  Amsterdam,  the  West  Church  Tower 83 

36.  Michael  de  Munblacsy 

The  Last  Day  of  the  Condemned 86 

37.  Aert  van  der  Neer 

Landscape 87 

38.  Atelier  of  Palma  Vecchio 

Allegorical  Subject 92 

39.  Sir  Henry  Raeburn  ' 

Portrait  of  Colonel  MacDonald  of  St.  Martins 98 

40.  Jan  van  Ravesteyn 

Portrait  of  Pieter  de  la  Court 99 

41.  Jacob  van  Ruisdael 

Landscape  with  Waterfall 110 

42.  John  Singer  Sargent 

Portrait  of  Lady  Millicent  Hawes Ill 

43.  Samuel  Scott 

View  of  old  Rochester  Bridge.  114 

44.  Franz  Snyders 

Dead  Game 115 

45.  Jan  Steen 

The  Fortune  Teller 118 

46.  Alfred  Stevens 

“Will  You  Go  with  Me,  Fide” 119 

47.  Vincenzo  Tamagni 

Portrait  of  a Young  Lady 122 

48.  Constant  Troyon 

A Boy  with  Oxen 128 

49.  CoRNELIS  DE  VoS 

A Portrait  Group 134 

50.  James  McNeill  Whistler 

The  Lady  with  the  Yellow  Buskin 135 

51.  Francisco  Zurbaran 

Portrait  of  a Peasant 142 

iz 


PREFACE 


During  the  years  1919-1921,  the  Wilstach 
Galleries  were  replanned  and  redecorated 
to  make  them  architecturally  more  attractive, 
more  serviceable  and  more  appropriate  for  the 
display  of  the  paintings. 

While  this  fortunate,  and,  we  believe,  most 
happy  rearrangement  was  being  effected,  the 
opportunity  was  taken  to  examine  thoroughly 
the  physical  condition  of  the  paintings,  to  clean 
and  revarnish  those  that  needed  such  treatment, 
and  at  the  same  time  to  give  many  of  them  new 
frames  in  harmony  with  their  style  and  period. 
Thus,  when  the  pictures  were  rehung,  their 
qualities  could  be  appreciated  much  better  than 
before. 

Incidentally,  the  old  catalogue  of  1913  had 
become  exhausted,  so  that  a new  one  was  needed, 
which  would  not  only  be  more  complete,  but 
more  useful  as  a guide  to  the  new  arrangement. 
Mr.  Joseph  E.  Widener,  the  chairman  of  the 
Wilstach  committee,  who  supervised  the  replan- 
ning,  saw  also  the  need  for  critical  and  scholarly 
study  of  the  Wilstach  pictures.  He  therefore 
sought  and  obtained  the  services  of  Mr.  Maurice 
W.  Brockwell,  who  began  the  compilation  of  a 


new  catalogue.  He  was  unfortunately  prevented 
from  completing  and  publishing  this  catalogue, 
but  he  had  succeeded  in  making  a critical  analy- 
sis of  all  the  important  masterpieces  and  listing 
those  then  in  the  collection.  His  manuscript 
notes  were  placed  in  my  care,  to  edit  and  publish. 

As  the  catalogue  now  appears,  the  critical  and 
historical  comments  as  well  as  the  attributions, 
are  Mr.  Brockwell’s,  except  in  the  case  of  pic- 
tures acquired  since  1919. 

For  me  was  left  the  privilege  of  bringing  the 
catalogue  up  to  date,  filling  the  gaps  in  the 
biographical  sketches,  and  in  a number  of  cases 
enlarging  upon  those  already  written.  In  several 
instances,  I have  been  able  to  add  to  Mr. 
BrockwelFs  historical  and  critical  comment 
where  recent  research  has  thrown  new  light  on 
the  lives  and  works  of  the  painters;  such 
additions  will  be  found  inserted  between  brackets 
in  the  text. 

It  has  been  the  aim  of  the  compilers  to  present 
the  facts  in  the  light  of  modern  art  criticism 
regarding  each  artist  and  each  picture  as  com- 
pletely as  was  consistent  with  their  importance 
and  historical  significance.  A catalogue  should 
be  not  only  an  explanatory  guide  book,  but  an 
authoritative  work  of  reference.  Yet,  owing 
to  the  almost  entire  absence  of  records,  much 
difficulty  has  been  encountered,  and  the  pedi- 
grees where  ascertainable  are  still  fragmentary. 

The  majority  of  those  who  visit  a large 

xii 


public  collection  of  this  range  and  scope  have 
but  a limited  amount  of  time  at  their  disposal. 
If  such  visitors  will  examine  the  plan  of  the 
galleries  they  will  see  at  a glance  that  the  scheme 
followed  in  grouping  the  different  panels  and 
canvases  is,  in  the  main  at  least,  chronological 
and  consecutive.  It  is  at  the  same  time  cal- 
culated to  indicate  the  natural  sequence  of  the 
different  schools  of  painting. 

Arthur  Edwin  Bye 


xiii 


INTRODUCTION 


Philadelphia  is  indebted  to  the  fore- 
thought and  munificence  of  Mr.  and  Mrs. 
W.  P.  Wilstach  for  the  collection  of  paintings  and 
other  works  of  art  herein  catalogued.  Mr.  Wil- 
stach devoted  much  time  to  forming  the  nucleus 
of  the  collection.  Mrs.  Wilstach  so  increased 
the  fortune  which  she  inherited  from  her  hus- 
band that  she  was  able  not  merely  to  dedicate 
the  collection  to  the  perpetual  enjoyment  of  her 
city,  but  also  to  endow  it  with  a fund  for  its 
maintenance  and  increase  such  as  few  public 
galleries  enjoyed  at  that  time. 

In  her  will,  dated  July  31,  1873,  she  directed 
as  follows : 

“ . . . Item.  One  other  equal  fourth  part 
thereof  unto  the  City  of  Philadelphia,  if  accepted 
by  the  Fairmount  Park  Commissioners  as  now 
authorized  by  Act  of  Assembly,  upon  the  condi- 
tions and  for  the  purposes  following,  namely: 
“To  erect  a secure  Art  Gallery  in  said  Park 
for  the  exhibition  of  pictures  and  works  in  the 
Fine  Arts,  on  a plan  similar  to  the  new  building 
for  such  exhibition  at  Dresden  in  Saxony,  to  be 
so  built  as  to  admit  of  extension  with  the  increase 


of  funds  without  impairing  the  harmony  of  the 
edifice,  or  destruction  of  any  portion  of  the 
original  building;  but  if  there  should  be  a suit- 
able permanent  building  left  in  said  Park  after 
the  Centennial  celebration  of  1876,  in  which 
pictures  mentioned  below  may  be  received  and 
preserved  distinctly  from  other  collections,  so 
as  to  be  known  as  the  ‘ Wilstach  Collection,’  then 
the  erection  of  another  building  may  be  omitted, 
and  donations  shall  be  accepted  for  said  collec- 
tion, and  invited  by  the  said  Commissioners. 

“To  the  said  City,  but  to  be  under  the  custody 
and  control  of  the  said  Fairmount  Park  Com- 
missioners, I also  direct  all  my  paintings,  pictures 
and  statuary,  including  those  of  my  late  husband, 
to  be  given  and  transferred  to  the  said  city  for 
said  purposes  and  placed  in  the  ‘Wilstach  Col- 
lection.’ Their  exhibition  shall  be  public,  under 
regulations  to  be  established  by  the  said  Fair- 
mount  Park  Commissioners,  and  as  soon  as 
practicable  shall  be  gratuitous,  and  the  opening 
thereof  shall  be  as  soon  after  my  decease  as  a 
gallery  can  be  provided  for  their  reception. 

“All  the  said  fourth  of  said  residuary  estates 
not  expended  in  erecting  such  hall  of  art,  and 
the  whole,  if  no  such  hall  shall  be  required  to  be 
built  out  of  said  fund,  shall  be  kept  invested  in 
lawful  investments  by  the  said  Fairmount  Park 
Commissioners,  subject  to  the  jurisdiction  of  the 
Courts  having  control  of  testamentary  trusts; 
and  the  income  thereof  shall  be  by  them  applied 


XVI 


to  the  purchase  of  pictures,  paintings,  and  statu- 
ary for  said  collection,  always  keeping  in  view 
the  purpose  of  obtaining  objects  of  the  highest 
skill  and  beauty,  that  they  may  be  the  source  of 
pleasure  and  the  means  of  cultivation  and  refine- 
ment of  the  tastes  of  the  people,  be  pure  in 
sentiment,  and  never  minister  to  vulgarity  and 
vice. 

“Provided,  however,  that  if  the  principal 
should  exceed  the  sum  of  one  hundred  thousand 
dollars,  then  the  excess  over  that  sum  may  be 
used  for  the  purchase  of  works  of  art.” 

In  the  final  codicil  to  the  said  will,  dated 
March  7th,  of  1890,  the  testatrix  devised  to  the 
City  of  Philadelphia,  as  follows: 

“ . . . Item.  I give  and  bequeath  to  the 
City  of  Philadelphia  all  my  paintings,  engrav- 
ings, statuary,  photographs,  books  of  art,  and 
catalogues  of  various  galleries  in  Europe  and 
America.  Also  my  books  denominated  ‘Dresden 
Gallery,’  containing  engravings  of  the  paintings 
in  the  Dresden  Galleries,  in  Dresden,  Saxony, 
and  all  works  of  art  owned  by  me  at  the  time  of 
my  decease,  in  trust  nevertheless,  to,  for  and 
upon  the  following  uses,  intents  and  purposes, 
to  wit:  To  place  the  said  paintings,  statuary, 
photographs  and  works  of  art  in  the  possession 
and  under  the  control  of  the  Commissioners  of 
Fairmount  Park,  to  be  placed  by  them  in  Me- 
morial Hall  in  Fairmount  Park,  there  to  be  pre- 
served by  them,  and  taken  care  of  and  kept  in 

xvii 


good  order,  as  the  nucleus  or  foundation  of  an 
Art  Gallery  for  the  use  and  enjoyment  of  the 
people.  The  collection  to  be  kept  together 
and  known  and  designated  by  the  name  of  the 
‘W.  P.  Wilstach  Collection.’  And  I direct  my 
Executors  to  transfer  to  the  Commissioners  of 
Fairmount  Park,  in  like  manner  in  trust,  the 
one  other  fourth  part  of  the  residue  and  remain- 
der of  the  said  estate  and  estates,  which  said 
sum  shall  be  invested  in  good  and  lawful  securi- 
ties by  the  said  Commissioners  of  Fairmount 
Park.  And  the  interest  accruing  therefrom  shall 
be  used  for  the  maintenance  of  said  Art  Gallery, 
in  keeping  the  same  in  good  order  and  condition 
and  providing  of  competent  care-takers,  as  may 
be  necessary  to  carry  out,  to  its  full  and  com- 
plete extent  and  meaning,  the  design  I have  in 
view  in  making  this  devise  and  bequest  for  the 
founding  and  sustaining  an  Art  Gallery  in  Fair- 
mount  Park  for  the  use  and  enjoyment  and 
benefit  of  the  public.  . . 

It  is  certainly  a happy  coincidence  that,  as 
anticipated  by  the  testatrix,  this  collection 
should  find  its  first  home  in  the  memorial  build- 
ing, which  during  the  Centennial  Exposition 
contained  the  first  cosmopolitan  art  collection 
exhibited  in  this  country.  How  great  was  the 
artistic  inspiration  thus  derived  by  America 
need  not  here  be  considered. 

Memorial  Hall,  Fairmount  Park,  is,  however, 
reserved  more  especially  for  the  exhibition  of 

xviii 


works  of  industrial  and  decorative  art.  But  the 
Wilstach  collection  is  still  accommodated  in  it. 

This  collection  has,  however,  so  far  outgrown 
the  space  allotted  to  it  in  Memorial  Hall,  that 
it  is  not  possible  to  exhibit  all  the  paintings  at 
the  same  time.  It  is,  therefore,  most  fortunate 
that  the  City  of  Philadelphia  is  building  a new 
Art  Building,  which  , will  not  only  house  the 
Wilstach  Collection,  but  the  William  L.  Elkins, 
the  George  W.  Elkins,  and  the  John  H.  McFad- 
den  Collections  already  bequeathed  to  the  city, 
and  waiting  for  a permanent  home. 

These  four  collections,  embracing  most  of  the 
historic  Western  Schools  of  painting,  will  cer- 
tainly carry  out  the  noble  purposes  of  their 
donors,  “to  be  the  source  of  pleasure  and  the 
means  of  cultivation  and  refinement  of  the  tastes 
of  the  people.” 

In  a community  world-famous  for  its  great 
material  interests  the  Wilstach  Collection  will 
perpetuate  the  memory  and  philanthropy  of  its 
donors.  The  hope  ’may  be  expressed  that  the 
important  public  work  thus  begun,  and  sub- 
sequently carried  on  by  other  benefactors,  may 
be  still  further  advanced  by  the  generosity  of 
collectors  in  the  future. 


IIX 


EXPLANATORY  REMARKS 


IN  the  descriptions  of  the  pictures,  the  terms 
right  and  left  are  used  in  reference  to  the 
right  and  left  of  the  spectator,  unless  the  context 
obviously  implies  the  contrary. 

The  surface  measurements  are  given  in  inches, 
the  height  preceding  the  width  or  length. 

The  word  ‘'school”  has  various  significances 
with  writers  on  art;  in  its  general  and  widest 
sense  it  denotes  all  the  painters  of  a given 
country,  without  regard  to  subdivision  of 
style,  as  the  Italian  School.  Or  it  may  refer 
to  the  characteristic  style  which  distinguishes 
the  painters  of  a particular  locality  and  period, 
as  the  Florentine  School. 

Unless  otherwise  stated  the  pictures  are 
painted  upon  canvas. 

A “genre”  picture  is  one  in  which  the  human 
interest  makes  the  chief  appeal.  Most  genre  pic- 
tures are  frankly  anecdotal,  and  tell  a story. 

“Putto”  and  “Putti”  are  Italian  words  mean- 
ing “boy”  or  “boys,”  generally  nude. 

A predella  is  the  base  of  an  altarpiece,  gener- 
ally divided  into  compartments  and  decorated 
with  small  pictures  separate  from  the  main 
part  of  the  altarpiece. 


XXI 


ABBREVIATIONS 

A.  N.  A. — Associate  of  the  National  Academy. 

N.  A. — National  x\cademician. 

A.  R.  A. — Associate  of  the  Royal  Academy. 

R.  A. — Royal  Academician. 

N.  A.  D. — National  Academy  of  Design. 

P.  A.  F.  A. — Pennsylvania  Academy  of  Fine  Arts. 

q.  V. — Implies  a cross  reference  to  another  painter 
represented  in  the  Wilstach  Collection. 

cf. — Confer  or  refer  to. 


xxiii 


THE  W.  R WILSTACH 
COLLECTION 

PAINTINGS 

ACHENBACH,  ANDRfiAS 

German.  Born  in  Cassel,  September  29,  1815.  Died  in  Dusseldorf,  1910, 

Landscape  painter  and  the  master  of  his  brother,  Oswald  Achen- 
bach  {q.  v.). 

He  travelled  extensively,  painting  mountainous  scenes  and  marine 
pieces,  becoming  a pioneer  in  the  realistic  study  of  landscape  in  Ger- 
many. He  was  influenced  by  Ruysdael  and  Everdingen  in  painting 
Norwegian  scenery. 


1 . LANDSCAPE— EVENING 

A farm  and  other  buildings  near  a church.  A castle 
in  the  background. 

Signed  and  dated  1868. 

213/2  inches  x 263/^  inches. 
Wilstach  Bequest,  July,  1893. 


2.  A MILL  IN  WESTPHALIA:  A STORM 
APPROACHING 

A water  mill  with  red  roof.  Cattle  in  the  left  foreground. 
Signed. 


Wilstach  Bequest. 


32  inches  x 423/2  inches. 


ACHENBACH,  OSWALD 

German.  Born  in  Dusseldorf,  February  2,  1827.  Died,  February  1,  1905. 

A painter  of  landscapes,  religious  fetes  and  processions.  He  was  a 
professor  at  Dusseldorf. 


1 


3. 


STREET  SCENE, NAPLES 

Numerous  figures,  including  one  with  a green  umbrella, 
near  a house  at  the  foot  of  a flight  of  steps  leading  to  the 
church  on  the  right. 

483^  inches  x 42  inches. 

Wilstach  Bequest, 


ALEXANDER,  JOHN  WHITE 

American.  Born  near  Pittsburgh,  Pa.,  October  7,  1856.  Died,  June  1,  1915. 

His  life  was  the  expression  of  a gentle  spirit.  In  1877,  he  went  to 
Europe  and  studied  at  Munich.  In  Venice  he  became  a friend  of  Whis- 
tler. His  art  as  a decorator  may  be  studied  in  the  Library  of  Congress, 
Washington,  D.  C.,  and  in  the  Carnegie  Institute,  Pittsburgh,  Pa. 

4.  PORTRAIT  OF  FRITZ  THAULOW 

Plate 

Three-quarter  length  figure,  turned  in  profile  to  the 
right,  seated  in  black  frock  coat  with  a screen  at  his 
back  on  the  left.  The  right  hand  is  by  his  side;  the  left 
raised  to  his  breast. 

Signed  and  dated  1894. 

47  inches  x 35  inches. 

Purchased  March  4,  1896. 


AMBERG,  WILHELM 

German.  Born,  1822,  in  Berlin.  Died,  1899. 

Genre  painter,  who  studied  under  Herbig,  of  the  Berlin  Academy, 
Karl  Begas  and  Leon  Cogniet,  of  Paris. 

5.  CONTEMPLATION 

A young  woman  in  white  sitting  on  a rock  and  looking 
down  into  a stream. 

Signed. 

283^  inches  x 23  inches. 


Wilstach  Bequest. 


2 


JOHN  W.  ALEXANDER 
Portrait  of  Fritz  Thaulow 


ANTHONISSEN,  HENDRIK  VAN 

Dutch.  Born,  1606  f?).  Died,  1660  (?). 

Reliable  documents  about  this  master  are  very  rare.  It  is  said  that 
he  was  born  in  1605  or  1606,  and  that  he  was  a pupil  of  his  brother-in- 
law,  Jan  Porcellis,  one  of  the  first  marine  painters  of  Holland,  as  well  as 
of  Jan  van  Goyen  {q.  v.,  van  Goyen)  and  of  Simon  de  Vlieger.  His 
manner  resembles  that  of  these  three  masters.  He  lived  chiefly  in 
Amsterdam,  where  he  must  have  died  between  1654-1660.  He  usually 
signed  H.  V.  A.  or  H.  V.-ANT.  Works  by  this  master  are  to  be  found 
in  the  museums  of  Schwerin,  Orleans,  Petrograd  and  Antwerp. 

6.  MARINE  VIEW 

A large  sailing  vessel  approaches  from  the  right  in  the 
teeth  of  a strong  wind.  A buoy  is  in  the  center  of  the  fore- 
ground. Two  sailing  vessels  on  the  left  are  running  before 
the  wind.  Churches  and  buildings  in  the  distance. 

Signed  with  a monogram  on  the  boat. 

Wood,  33^  inches  x 483^  inches. 
Given  by  John  G.  Johnson,  Esq.,  January,  1900. 

AUBLET,  ALBERT 

French.  Born,  January  18,  1851,  in  Paris.  Contemporary.  Studied  under  G4r6me 
A painter  of  religious,  historical  and  genre  subjects. 

7.  A WOMAN  ASLEEP 

A nude,  full  length  figure  of  a woman,  less  than  life- 
size,  seated  on  a divan;,  a wrap  hangs  over  her  left  arm. 
A large  window  is  in  the  left  background,  a table  on  the 
left,  a mantelpiece  on  the  right. 

Signed  and  dated,  1909. 

453^  inches  x 35J^  inches. 

Purchased,  August  19,  1903. 

AVERCAMP,  HENDRIK 

Dutch.  Born  at  Amsterdam,  January  25,  1585.  Died  at  Kampen  about  1663, 
where,  in  1625,  he  had  settled. 

Surnamed  “De  Stomme  van  Kampen”;  i.  e.,  the  Mute  of  Kampen, 
because  of  his  taciturnity. 

A painter  of  landscape,  animals,  sea  pieces  and  winter  scenes;  a 
pupil  of  Gillis  van  Coninxloo. 


3 


8.  A WINTER  LANDSCAPE 

Men,  women  and  children  are  on  the  ice  near  the  walls 
of  a city.  A vendor  of  clay  pipes  is  on  the  bank  in  the 
right  foreground;  other  figures  are  outside  the  Inn  on  the 
left  bank. 

Wood,  2014  inches  x 34  inches. 

Purchased  July  2,  1902. 


BAIL,  JOSEPH 

French.  Born,  January  22,  1862,  at  Limonest  (Rhone).  Died,  November,  1921. 
Pupil  of  his  father,  Antoine,  and  later  of  Gerome  and  Carolus  Duran. 

He  first  exhibited  a still-life  at  the  Salon  of  1878,  and  since  has  become 
known  as  a still-life,  animal  and  genre  painter. 

9.  YOUNG  GIRLS  OF  THE  ISLE  OF  MARKEN 

Two  are  standing  and  one  is  seated  on  the  left,  knitting. 
Another  is  sitting  on  a bench  at  the  right. 

Signed. 

55^  inches  x 6934  inches. 

Purchased  January  27,  1917. 


BARAU,  EMILE 

French.  Born,  March  11,  1851,  at  Reims.  Contemporary. 

A melancholy  painter  of  village  scenes.  He  selected  the  loneliness 
of  village  streets,  the  quietness,  when  the  people  were  away  at  work  in 
the  fields. 


10.  THE  VILLAGE  STREET 

An  old  woman  is  walking  away  toward  the  turn  in  the 
road  which,  on  the  left,  leads  to  the  village.  Blue  sky. 

Signed. 

15%  inches  x 24  inches. 

Given  by  John  G.  Johnson,  Esq.,  October  19,  1907. 


4 


JULES  BASTIEN-LEPAGE 
In  the  Fields 


BARKER,  THOMAS,  OF  BATH 

English,  Born  at  Pontipool,  Monmouthshire,  1769.  Died,  December  11,  1847. 

A native  of  Wales,  but  on  account  of  his  residence  at  Bath,  he  is 
known  always  in  connection  with  that  town.  Barker  seems  to  have  been 
principally  self-taught.  He  studied  at  first  the  old  Dutch  masters  and 
later  went  to  Italy.  The  influence  of  the  old  masters  is  very  strong  in 
his  works.  He  painted  a variety  of  subjects.  It  is  for  his  landscapes  and 
rustic  figures  that  he  is  best  known  today. 

11.  GYPSIES  ON  THE  HEATH 

In  stormy  weather,  towards  evening,  they  are  moving 
towards  the  left. 

30  inches  x 41^  inches. 

Given  by  John  G.  Johnson,  Esq.,  September  15,  1903. 


BASTIEN-LEPAGE,  JULES 

French.  Born  at  Damvillers,  Lorraine,  November  1,  1848.  Died  at  Paris,  Decem- 
ber 10,  1884. 

He  began  his  career  as  a painter  of  pseudo-pastoral  scenes  in  the 
academic  manner,  but  being  by  birth  a peasant,  like  Millet,  he  later 
turned  to  painting  the  life  he  knew  and  loved.  Hence,  it  is  as  a realist 
of  the  school  of  Millet  that  he  is  justly  famous. 

12.  IN  THE  FIELDS 

Plate 

A young  woman  carrying  baskets  stands  in  the  fore- 
ground. She  calls  to  a man  in  the  left  foreground. 

Signed  and  dated  1880  at  Damvillers,  his  native  place, 
where  there  is  (or  was)  a statue  by  Rodin  to  his  memory. 
Damvillers,  near  Monmedy,  is  some  thirty  miles  from 
Sedan  in  northern  France.  This  is  a late  picture  in  his 
short  career. 

30  inches  x 40  inches. 

Purchased  November  16,  1894. 

13.  A PEASANT  BOY 

Seated  on  a bench. 

32  inches  x 25)^  inches. 

Purchased  October  25,  1912. 


5 


BECKER,  CARL  LUDWIG  FRIEDRICH 

German.  Born  in  Berlin,  December  18,  1820.  Died,  December  20,  1900. 

Becker  belonged  to  a school  headed  in  France  by  Paul  Delaroche, 
which  delighted  in  representing  scenes  of  a genre  character  with  an  his- 
toric background.  Oftentimes  the  stories  these  artists  had  to  tell  were  of 
more  interest  than  the  artistic  qualities  of  their  pictures.  But  Becker 
had  a rich  color  sense,  and  an  instinct  for  decoration  which  saved  him 
from  mere  banality. 

14.  The  Count’s  Birthday 

The  Count,  an  elderly  gentleman,  is  seated  on  the  right. 
A lady  is  presenting  to  him  her  little  daughter,  while  in 
the  background  is  an  old  lady,  perhaps  the  housekeeper, 
two  other  gentlemen  and  a little  boy. 

Signed  and  dated  1869. 

433^  inches  x 56  inches. 

Wilstach  Bequest. 


BEELDEMAKER,  JAN 

Dutch.  Bora  at  The  Hague,  1630.  Died  about  1710. 

A painter  of  landscapes,  flowers  and  animals,  excelling  in  boar  and 
stag  hunts.  He  was  still  alive  in  1710. 

15.  THE  MILKMAID 

In  a red  dress  and  asleep,  she  leans  against  the  bank 
on  the  left.  A dog  laps  the  milk  in  the  pail.  A man  leans 
over  her  left  shoulder.  A boy  near  a tree  in  the  left  back- 
ground; a dog  in  the  right  foreground. 

173^  inches  x 24  inches. 

Purchased  October  14,  1907. 


BEERSTRAATEN,  JAN  ABRAHAMSZ 

Dutch.  Baptized  at  Amsterdam,  May  31,  1622.  Lived  in  Amsterdam  and  died 
there,  July,  1666. 

Beerstraaten  is  peculiarly  an  Amsterdam  painter,  and  although  he 
travelled  about  Holland,  and  even  painted  foreign  scenes  (Mediterranean 
seaports,  founded  on  local  sketches  made  by  other  artists),  he  pictures 
to  us  in  an  intimate  way  the  life  and  scenery  about  his  native  town. 
Marine  and  coast  views,  winter  landscapes  and  sea  fights  were  his  main 
theme. 


6 


JOOS  VAN  DER  BEKE 
Portrait  of  a Man 
(Sebastian  Munster?) 


-rt/ 


16.  A WINTER  LANDSCAPE 

There  is  a house  at  the  extreme  left.  The  principal 
object  is  an  old  country  parish  church  covered  with  snow. 
In  the  far  distance  a view  of  the  town,  half  hidden  in  the 
gloom  of  an  approaching  snowstorm;  oblivious  of  the 
weather,  a number  of  figures  are  skating  on  the  river. 
On  the  right  is  a castle. 

Signed  on  a plank  on  the  right  foreground,  “Beer- 
straaten.” 

/ 34 inches  x 48  inches. 

Purchased  December  23,  1904. 


BEKE,  JOOST  VAN  DER,  Called  Joost  or  Joos 
van  Kleef  or  Cleves 

Dutch.  Born  at  Antwerp  or  perhaps  at  Cleves,  about  1485.  Died  at  Antwerp 
shortly  after  November  10,  1540. 

[Pupil  of  Jan  Joest  van  Kalkar  before  1507;  probably  he  was  at  this 
time  the  teacher  of  Barthel  Bruyn  (1463-1557);  accepted  Freemaster 
at  Antwerp,  1511,  where  he  was  influenced  by  Quentin  Matsys  and 
Joachim  de  Patinir;  deacon  between  1519-1525;  he  seems  to  have  gone 
to  Italy,  1507-1511,  also  to  Cologne,  1515,  and  later  to  England  and 
other  parts  of  Europe. 

Joost  van  der  Beke  is  probably  identical  with  the  so-called  “Master 
of  the  Death  of  the  Virgin” — a name  derived  from  a triptych  now  in 
Munich,  with  a replica  at  Cologne.  Other  works  of  this  master  are  in 
the  Antwerp  Royal  Gallery,  also  in  the  Church  of  St.  Jacques,  Antwerp, 
at  Genoa,  Naples,  Florence,  Berlin,  Frankfort,  Cassel,  Dresden,  Vienna, 
Windsor  and  Paris.] 

17  PORTRAIT  OF  A MAN 

Plate 

He  is  seated  three-quarter  length  with  his  face  turned 
to  the  left.  His  ample  black  robe  reveals  fine  linen  at  the 
neck  and  wrists.  His  hands  are  raised,  one  of  them  hold- 
ing a scroll. 

Wood,  26  inches  x 20^  inches. 

[Formerly  in  the  Ladislaus  Bloch  Collection,  Vienna. 
Sold  through  Frederick  Muller,  Amsterdam,  November 
5,  1905,  when  it  was  purchased  by  John  G.  Johnson,  Esq., 
of  Philadelphia.  In  the  catalogue  of  this  sale  it  was 

7 


designated  “German  Master,  Recalling  Bartel  Bruyn, 
or  the  School  of  Hans  Holbein  the  Younger,”  and 
entitled  “Portrait,  presumably  of  Sebastian  Munster,” 
and  reproduced  in  photogravure.] 

Given  by  John  G.  Johnson,  Esq.,  November  5,  1912. 


BELLINI,  GIOVANNI.  See  Venetian  School 


BELOTTO,  BERNARDO 

Venetian.  Born  in  Venice,  January  1,  1720.  Died  in  Warsaw,  October  17,  1780. 

18.  A BRIDGE  SCENE 

Apparently  the  Grand  Canal,  Venice,  is  represented 
here,  with  numerous  gondolas  and  gondoliers  dotting  its 
surface.  The  Bridge,  if  ever  a real  structure,  has  long 
since  disappeared.  The  building  upon  it  is  an  imposing 
classical  edifice,  approached  on  either  side  by  flights  of 
steps  leading  from  the  quay.  Tall  pillars  support  its 
pediment,  which  is  crowned  with  acroteria  glistening  in 
the  bright  sunlight  against  the  sky. 

34^  inches  x 50  inches. 

Inscribed  on  the  right  is  the  name  of  “A.  Canal,”  i.  e., 
Antonio  Canale.  The  authorship  of  Venetian  views  of 
this  type  with  black  shadows  and  strongly  incised  lines 
in  the  architecture  has  been  much  disputed.  The  diminu- 
tive name  of  “II  Canaletto”  was  originally  applied  to 
Bernardo  Belotto  (1720-1780)  to  distinguish  him  from  his 
master  and  uncle,  Giovanni  Antonio  Canale  (1697-1768), 
who  was  both  earlier  and  more  original.  But  in  the  course 
of  time  Antonio  also  became  called  II  Canaletto.  Hence, 
a great  deal  of  confusion  between  their  works. 

Purchased  November  16,  1895. 


BERNARDINO  DI  MARIOTTO.  See  Italian 
School 


8 


BEYEREN,  ABRAHAM  VAN 

Dutch.  Born  in  The  Hague  in  1620  or  1621.  Died  about  1675.  Master  of  the 
Guild  at  The  Hague,  1640.  Master  of  the  Guild  at  Delft,  1657.  Member  of  the  Guild 
at  Alkmar,  1674. 

Insufficient  regard  is  still  paid  to  the  still-life  pietures  of  this  artist, 
who  is  entitled  to  the  highest  rank  in  his  group.  He  excelled  especially 
in  the  painting  of  fish,  hut  he  is  also  noted  for  his  “Breakfast  Pieces” 
(cf.  Pieter  Claesz)  and  for  his  flowers  and  fruit. 

19.  STILL-LIFE 

Dead  fish  placed  on  a stone  table,  many  of  them  pre- 
pared for  cooking. 

Signed  with  the  artist’s  monogram. 

283^  inches  x 3534  inches. 
Given  by  John  G.  Johnson,  Esq.,  August,  1900. 


BILLET,  PIERRE  CELESTIN 

French.  Born,  1837,  at  Cantin.  Contemporary. 

A painter  of  rustic  scenes;  a pupil  of  Jules  Breton. 

20.  THE  NOONDAY  REST 

Three  peasant  women  seated  under  trees,  one  with  a 
child  in  her  arms;  another  is  leaning  against  a tree  on  the 
left.  Faggot  gatherers  and  woodmen  in  the  right  distance. 

Signed  and  dated  1874. 

* 45  inches  x 58  inches. 

Given  by  John  G.  Johnson,  Esq.,  October  15,  1906. 


BONFIELD,  GEORGE  R. 

English.  Born  in  Portsmouth,  England,  1802.  Died  in  Philadelphia,  1898. 

He  was  brought  when  young  by  his  parents  to  Philadelphia,  where 
he  became  a stone  carver  and  sculptor.  It  was  in  this  capacity  that 
Joseph  Bonaparte,  who  then  resided  at  Bordentown,  N.  J.,  met  him, 
and  often  had  him  at  his  residence.  It  was  owing  to  the  encouragement 
of  Bonaparte  that  he  became  a painter,  and  as  he  had  been  brought  up 
in  a seaport,  and  had  spent  some  years  in  the  Island  of  Guernsey,  and 
having  a natural  tendency  in  that  direction,  he  made  marine  painting  his 
principal  object,  although  he  did  not  neglect  landscape  or  the  figure. 
Many  American,  also  English,  French  and  Mediterranean,  coast  and  river 
scenes  are  numbered  among  his  works.  He  was  in  his  day  the  leading 


marine  painter  of  America,  and  his  pictures  have  been  taken  to  and 
admired  in  all  countries.  He  was  one  of  the  leaders  in  all  art  move- 
ments, collaborating  with  Neagle,  Sully,  Shaw,  Birch,  Rothermel, 
Sartain  and  others,  and  was  one  of  the  early  members  of  the  Pennsyl- 
vania Academy  of  the  Fine  Arts,  with  which  he  was  connected  for  many 
years.  He  was  also  one  of  the  founders  of  the  Artists’  Fund  Society  of 
Philadelphia,  with  which  so  many  able  artists  were  associated.  While 
distinctively  a painter,  his  knowledge  of  prints  was  unequalled  in  America, 
and  he  was  the  principal  factor,  which  to  him  was  a labor  of  love,  in 
forming  the  great  “Claghorn  Collection,”  which  on  the  death  of  the 
owner  found  a home  in  Baltimore.  He  practiced  his  art  almost  up  to  the 
day  of  his  death. 


21.  RIVER  SCENE 

Figures  rowing  out  towards  sailing  vessels. 

Signed  and  dated  1854. 

24  inches  x 36  inches. 

Wilstach  Bequest. 

BONHEUR,  ROSA 

French.  Born  in  Bordeaux,  October  22,  1822.  Died  at  the  Chateau  of  By,  near 
Fontainebleau,  May  26,  1899. 

Pupil  of  her  father,  Raymond  Bonheur;  Director  of  the  Paris  Free 
School  of  Design  for  Young  Girls,  which  she  founded  in  1849.  Marie 
Rosalie  Bonheur  was  a popular  painter  of  animals  and  extremely  indus- 
trious in  her  devotion  to  her  art;  she  lived  to  old  age  and  to  see  her 
paintings  included  in  the  leading  museums. 

22.  “BARBARO”  AFTER  THE  HUNT 

Plate 

A rough-haired  dog,  sitting  on  its  haunches  in  a yard, 
chained  to  a nail.  A bucket  and  a scrubbing  brush  on  the 
ground  on  the  left,  as  well  as  the  animal’s  unhappy  expres- 
sion, indicate  Barbaro  has  just  had  a bath. 

Signed.  The  name  of  the  dog  inscribed  in  the  right 
top  corner. 

38  inches  x 51}/^  inches. 

Given  by  John  G.  Johnson,  Esq.,  January  25,  1900. 

BONIFAZIO  DI  PITATI 

Veronese.  Flourished,  1510-1540. 

Bonifazio  was  the  first  and  the  most  eminent  of  three  artists  all  called 
Bonifazio  and  originating  in  Verona.  To  distinguish  him  he  is  called 
Bonifazio  I,  Veronese.  He  was  a follower  of  Palma  Vecchio,  and  much 
influenced  by  Giorgione  and  Titian.  His  treatment  of  allegorical  and 

10 


ROSA  BONHEUR 
Barbaro  After  the  Hunt 


BONIFAZIO  ].  VERONESE 

Santa  Convkiisazione  or  Hory  Family  in  a Landsoapl 


religious  subjects  in  poetic  landscapes  gives  many  of  his  pictures  a 
Giorgionesque  atmosphere;  his  rich  glowing  color  is  Titianesque,  while 
his  voluptuous  treatment  of  form  recalls  Palma;  thus  it  is  that  his  pic- 
tures have  often  been  mistaken  for  those  of  his  three  more  celebrated 
contemporaries. 

23.  SANTA  CONVERSAZIONE  OR  HOLY  FAMILY 
IN  A LANDSCAPE 
Plate 

The  Virgin  in  a red  robe,  blue  mantle  and  white  scarf 
sits  before  a deep  green  curtain,  with  the  Infant  Saviour 
on  her  knee.  St.  John  runs  up  to  Him,  yet  is  detained  by 
St.  Joseph  on  the  left.  St.  Jerome,  represented  with  his 
lion,  is  reading  a book  on  the  right.  Oriental  landscape 
with  cavalry  in  the  background. 

80%  inches  x 55%  inches. 

Acquired  January,  1922,  from  the  Cornwallis-West 
Collection,  Ruthin  Castle,  Ruthin. 


BONINGTON,  RICHARD  PARKES 

English.  Born  in  Arnold  near  Nottingham,  England,  October  25,  1801.  Died  in 
London,  September  23,  1828. 

Pupil  of  the  ficole  des  Beaux  Arts  and  of  Baron  Gros.  Bonington  was 
of  English  parentage,  but  of  French  training  especially.  He  went  to 
Paris  at  the  age  of  fifteen.  During  his  short  life  he  created  a profound 
impression  on  the  art  of  both  countries  as  a landscapist.  In  1822,  he 
visited  Venice,  where  he  was  influenced  by  the  warm  coloring  of  the 
Venetian  painters. 

24.  A LANDSCAPE  IN  NORMANDY 

Plate 


Figures  are  on  a spit  of  land  in  the  foreground.  Tall 
houses  in  the  distance,  a tree-covered  hill  beyond. 


Purchased  July  14,  1896. 


12  inches  x 10  inches. 


BOSCH,  JEROME,  Attributed  to 

Originally  called  Heironymus  van  Aken,  he  changed  his  name  for  that  of  his  birth- 
place in  the  Netherlands,  Hertogenbosch  or  Bosch  (Bois-le-Duc),  where  he  was  born 
about  1460,  and  where  he  died  about  1516.  A painter  of  great  imagination  and  fantasy, 
he  exerted  great  influence  on  Pieter  Brueghel  the  Elder. 

25.  THE  JUGGLER  (“L’ESCAMOTEUR»») 

The  juggler,  in  profile  to  the  left,  stands  before  a low 
table  on  which  lie  the  objects  with  which  he  practices  his 
deceptions  on  the  curious  and  credulous.  In  the  back- 

11 


ground  is  a crowd  gazing  up  at  a nude  man  placed  on  a 
column.  Three  men  in  the  right  foreground  are  at  a table 
before  a stable,  through  the  bars  of  which  an  ox  is  in 
bovine  contemplation  of  a book  of  music.  On  the  extreme 
left  a man  is  stealing  the  purse  of  the  one  in  front  of  him. 

Wood,  43^  inches  x inches. 

At  first  sight  it  is  obvious  that  this  panel  is  archaistic 
in  its  derivation,  and  proleptic  in  its  aim,  but  any  doubt 
is  dispelled  by  reference  to  the  “ Escamoteur,  ” formerly 
in  the  Crespi  collection  at  Milan,  and  sold  in  Paris  in 
1914,  No.  92;  it  measures  41  inches  x 54  inches.  Another 
somewhat  similar  composition  is  in  the  Saint  Germain-en- 
Laye  Museum.  Both  are  illustrated  in  Paul  Lafond’s 
Monograph  on  “Bosch,”  1914,  p.  60. 

Purchased  by  Wilstach  Fund,  December  5,  1914. 

BOTH,  JAN 

Dutch.  Born  at  Utrecht  about  1610.  Died  at  Utrecht,  August  9,  1652. 

He  was  the  son  of  Dirck  Both,  a painter  on  glass,  and  a pupil  of 
Abraham  Bloemaert  in  1624,  together  with  his  brother,  Andries.  He 
travelled  in  France  and  Italy,  where  he  took  for  his  models  the  land- 
scapes of  Claude  Lorraine.  In  1640,  on  his  return  to  Utrecht,  he  was 
made  Dean  of  the  Guild  of  Painters.  His  brother,  Andries,  who  died 
1650,  often  collaborated  with  him,  painting  the  figures  in  his  landscapes. 
These  landscapes  are  noted  for  their  soft  golden  tone. 

26.  LANDSCAPE  WITH  HORSEMEN 
(Formerly  catalogued  as  “Landscape  and  Horseman’’) 

Near  a clump  of  trees  on  the  right,  at  a turn  in  the  road 
looking  down  on  to  a river,  two  men  on  horseback  are 
riding  away  towards  the  left.  Another  man  on  horseback 
is  in  the  left  distance;  other  figures  sitting  at  the  roadside. 

37  inehes  x 38  inches. 

Purchased  July  12,  1895. 

27.  THE  BRIDGE 

Several  men  on  horseback  are  about  to  ride  across  the 
bridge,  a great  part  of  which  on  the  left  is  in  half  ruin. 
In  the  left  background  is  a high  hill;  in  the  right  distance 
a lake  and  a city. 


12 


30 inches  x 405^  inches. 


RICHARD  PARKES  BONINGTON 
A Landscape  in  Normandy 


[This  picture  if  painted  by  Both  is  a copy.  The 
original,  attributed  to  Salvatore  Rosa,  hangs  in  the  Pitti 
Gallery,  Florence.  The  coat  of  arms  on  the  bridge  is  that 
of  the  Medici  family  of  Florence,  {cf.  Salvatore  Rosa, 
this  catalogue.)] 

Given  by  John  G.  Johnson,  Esq.,  October  19,  1907. 

BOUGUEREAU,  WILLIAM  ADOLPHE 

French.  Born  in  La  Rochelle,  November  30,  1825.  Died  in  La  Rochelle,  August 
18,  1905. 

Pupil  of  Picot  and  of  the  ficole  des  Beaux  Arts.  It  has  been  well 
said  that  he  withdrew  from  a business  career  and  was  the  architect  of 
his  own  fortune.  Bouguereau’s  art  was  highly  academic  and  pseudo- 
classic, and  on  account  of  the  modern  reaction  against  this  style,  his 
art  is  today  not  appreciated.  But  it  must  be  said  that  Bouguereau 
was  a master  of  drawing  and  composition,  and  for  those  who  do  not  seek 
life  and  color  in  art,  his  pictures  are  satisfactory. 

28.  THE  THANK  OFFERING 

Two  full  length,  life-size  figures.  A little  child,  a 
blanket  over  her  knees  and  sitting  in  a chair,  leans  her 
head  against  the  bosom  of  her  mother,  who,  with  a lighted 
candle  in  her  right  hand,  looks  up  ecstatically  at  the 
statuette  of  a saintly  figure  placed  on  a chest  of  drawers 
on  the  left  beneath  the  attic  window. 

Signed  and  dated  1867. 

573^  inches  x 42  inches. 

Given  by  John  G.  Johnson,  Esq.,  August  8,  1900. 

BOULARD,  EMILE 

French.  Contemporary. 

Boulard  is  a painter  known  for  his  portraits  of  women,  and  for  his 
interiors  with  figures. 


29.  AN  INTERIOR 

A lady  in  a rose-colored  dress  is  writing  near  the  window 
on  the  right.  Behind  her,  to  the  left,  is  a chest  of  drawers 
before  a wall  hung  with  tapestry.  A door  on  the  right 
leads  to  another  room  in  which  are  pictures. 

Signed. 

21^  inches  x 1834  inches. 

Purchased  August  12,  1907. 

13 


BOULLONGNE,  JEAN  DE,  Called  Valentin 

French.  Born  at  Coulommiers,  1600.  Died  at  Rome,  August  7,  1634. 

Although  French  by  birth,  he  should  be  classed  among  the  Italian 
naturalists.  His  early  training  is  unknown;  but  he  seems  to  have  been 
influenced  by  Caravaggio.  In  reacting  against  the  artificial  classicism 
of  the  period  he  turned  to  the  representation  of  horrible  or  ugly  scenes. 
He  is  not  to  be  confused  with  his  cousin,  the  French  line-engraver  of 
the  same  name. 


30.  GRACE  BEFORE  MEAT 

The  young  Christ,  with  the  halo  round  His  head,  is 
seated  on  the  far  side  of  the  table,  which  is  set  with  viands. 
He  raises  His  hand  in  blessing.  On  the  left  is  the  Virgin, 
and  on  the  right  St.  Joseph.  In  the  foreground  a small 
table  with  a jug,  cup  and  saucer,  and  flask;  a cat  is  jump- 
ing onto  the  table. 

50^  inches  x 75  inches. 

Purchased  January  8,  1904. 


BOUTELLE,  DE  WITT  CLINTON 

American.  Born  in  Troy,  New  York,  1817.  Died  in  Bethlehem,  Pennsylvania 
November  5,  1884. 


31.  LEHIGH  VALLEY  FROM  MOUNT  ROGERS 

The  river  runs  past  a cottage  in  the  middle  distance, 
with  Bethlehem  seen  beyond. 

Signed  and  dated  1861. 

Wilstach  Bequest. 

40  inches  x 50  inches. 

32.  FISHTRAP  ON  THE  LEHIGH  RIVER 

Circular,  22  inches  x 22  inches. 

Wilstach  Bequest. 

33.  JUNE  SCENE  NEAR  BETHLEHEM,  PA. 

A water  mill  and  mill  pond. 

24  inches  x 32  inches. 

Wilstach  Bequest. 


14 


Burning  Tares  in  a Wheatfield 


BOZNANSKA,  OLGA 

Polish.  Born  in  Krakow,  April  15,  1865.  Contemporary. 

Studied  in  Krakow  and  in  Munich.  Her  portraits  show  a preference 
for  gray  tones  and  a certain  evanescence  of  line,  which  has  often  been 
mistaken  as  a reminiscence  of  Eugene  Carriere. 


34.  PORTRAIT  OF  A WOMAN 

Three-quarter  length  figure  of  a woman,  seated. 

! 413^  inches  x29]/g  inches. 

Purchased  January  27,  1917. 


BRANDI,  GIACINTO 

Roman.  Born  at  Poli  near  Rome,  1623.  Died  at  Rome,  1691. 

A pupil  of  Lanfranco.  In  the  early  part  of  his  career  he  painted 
characteristic  works,  but  love  of  pleasure  finally  led  to  his  working  with 
negligence  and  dispatch. 

35.  ST.  CECILIA 

The  patron  saint  of  music  is  turned  three-quarters  to 
the  left,  and  seated  at  the  organ.  An  angel  places  a 
crown  on  her  head.  Five  other  musician  angels  are 
represented. 

86  inches  x 68  inches. 

Purchased  January  8,  1904. 


BRETON,  JULES  ADOLPHE  AIME  LOUIS 

French.  Born  at  Courrieres,  May  1,  1827.  Died,  July  4,  1906. 

A genre  and  landscape  painter,  who  became  highly  esteemed  by 
academic  circles  and  collectors.  His  pictures  lack  the  truth  and  realism 
of  such  profound  painters  as  Millet,  yet  his  genuine  poetic  feeling,  com- 
bined with  sound  craftsmanship,  justifies  to  a great  extent  the  popular- 
ity of  his  work. 


36.  TIRED  OUT 


A peasant  girl,  asleep  on  straw  in  a field;  full  length. 


Signed  and  dated  1868. 
Wilstach  Bequest. 


16  inches  x 12J^  inches. 


15 


37.  BURNING  TARES  IN  A WHEATFIELD 

Plate 

Two  farm  laborers  burning  weeds  in  the  right  fore- 
ground. Two  children  approach  from  the  left. 

Signed  and  dated  1868. 

38  inches  x 53  inches. 

Wilstach  Bequest. 

BRION,  GUSTAVE 

Alsatian.  Born  at  Rothau,  October  24,  1824.  Died  in  Paris,  November  4,  1877. 

A pupil  of  Guerin.  A genre  painter  who  loved  melancholy  and  solemn 
subjects.  Typically  Alsatian,  he  reveals  in  his  art  the  familiar  things  of 
every  day  life. 

38.  READING  THE  BIBLE  IN  THE  FAMILY 

The  aged  father  sits  in  the  center  by  the  table  and 
reads  the  Bible;  a group  of  nine  figures. 

Signed  and  dated  1870. 

43  inches  x 47  inches. 

Original  Wilstach  Bequest. 

BROWN,  JOHN  LEWIS 

French.  Born  in  Bordeaux  of  English  origin,  1829.  Died  in  Paris,  1890. 

A painter  of  sporting  and  military  subjects. 

39.  THE  MEET 

The  huntsmen  and  hounds  at  the  meet  in  the  open  field 
near  a windmill. 

Signed  and  dated. 

40^4  inches  x 403^8  inches. 

Given  by  John  G.  Johnson,  Esq.,  November  5,  1912. 

BRUEGHEL,  PIETER  THE  YOUNGER 

Flemish.  Born  in  Brussels,  1564.  Died  in  Antwerp,  1638. 

He  was  the  son  of  Pieter  Brueghel  the  Elder  (old  Brueghel,  Brueghel 
the  Droll)  whose  works  he  copied  and  imitated.  The  brother  of  Jan 
Brueghel  and  the  father  of  Pieter  Brueghel  III,  he  thus  belonged  to  a 
family  of  distinguished  artists,  and  was  himself  designated  as  “Hell” 
Brueghel  because  of  his  preference  for  frightful  and  eccentric  scenes. 

He  was  a pupil  of  Gilles  van  Coninxloo  of  Antwerp,  a freemaster  in 
1585.  Inferior  to  his  father,  he  is  nevertheless  one  of  the  most  char- 
acteristic painters  of  the  Flemish  school. 

16 


40.  THE  CRUCIFIXION 

In  the  center  is  Christ  on  the  Cross  with  a thief  on  the 
right.  The  cross  of  the  thief  on  the  left  is  being  elevated 
into  position.  Numerous  figures.  Jerusalem  in  the  left 
distance. 

Wood,  253^  inches  x 47^  inches. 

This  “Crucifixion”  recalls  the  composition,  “The  Pro- 
cession to  Calvary”  in  the  Antwerp  Gallery  and  other 
somewhat  similar  works.  All  such  pictures,  which  may 
be  assigned  to  Pieter  Brueghel  the  Younger  without  much 
risk,  are  derived  from  one  or  more  works  by  the  Elder 
Brueghel,  who  excelled  in  such  subjects  and  painted  with 
a different  technique. 

Purchased  August  6,  1903. 

BULAND,  EUGDNE 

French.  Born,  1852,  in  Paris.  Contemporary. 

Pupil  of  Cabanel  and  of  the  ficole  des  Beaux  Arts,  Paris. 

41.  AUDIENCE  DAY 

Fourteen  figures,  smaller  than  life-size.  A gendarme,  in 
a cocked  hat  and  sword,  is  seated  in  a Court  Room  inside 
the  bar.  Outside  and  more  to  the  right,  are  men,  women 
and  boys. 

Signed  and  dated  1895. 

47  inches  x 37%  inches. 

Purchased  August  30,  1895. 

BUNNY,  RUPERT  C.  W. 

Australian.  Born,  1864,  in  Melbourne,  Australia. 

Studied  under  Jean  Paul  Laurens,  at  Paris.  A figure  and  decorative 
painter,  also  represented  in  the  Luxembourg  Gallery,  Paris,  in  Budapest, 
and  in  several  galleries  in  Australia. 

42.  AT  THE  BEACH 

Three  women  and  a dog  near  the  seashore.  On  the 
right  a young  lady  is  about  to  dress. 

Signed. 

51%  inches  x 78%  inches. 

Purchased  August  6,  1908. 


17 


BURGMAIR,  HANS  THE  ELDER,  Manner  of 

German.  Born  at  Augsburg,  1473.  Died,  1531. 

Painter  and  engraver,  friend  and  fellow-laborer  of  Albrecht  Diirer  in 
the  service  of  Maximilian  I,  he  is  entitled  to  high  rank  among  illus- 
trative artists. 

43.  ST.  ULRIC  AND  ST.  AFRA 

Two  small,  full  length  figures.  On  the  left  is  St.  Ulric 
in  full  canonicals,  standing  beneath  a small  vaulted  build- 
ing, and  holding  a fish  in  his  hand.  He  faces  towards  the 
right,  where  is  St.  Afra,  who  wears  a crown  and  has  her 
right  arm  about  the  trunk  of  a tree. 

Inscribed  “HB”  and  dated  1523(.?)  on  the  knob  of 
St.  Ulric’s  pastoral  staff.  This  picture  as  we  see  it  now 
undoubtedly  represents  two  wings  of  a triptych,  the 
center  panel  of  which  has  been  lost,  and  the  wings  joined 
together. 

Wood,  393/8  inches  x 413^  inches. 

Burgmair  made  drawings  for  engravers  on  wood,  and 
among  them  six  for  the  lives  of  Ulric,  Symbrecht  and  Afra 
in  1516.  (See  R.  Muther:  “Burgmair’s  Works”  in 

“Repertorium  f.  Kunst,”  1886,Vol.  IX,  p.  428.)  A church 
in  Augsburg  is  dedicated  to  St.  Ulric  and  St.  Afra,  the 
foundations  of  the  choir  being  laid  in  1500.  St.  Ulric 
holding  a fish  is  found  in  Burgmair’s  painting  in  Berlin. 

Given  by  John  G.  Johnson,  Esq.,  October,  1907. 


CABANEL,  ALEXANDRE 

French.  Born  at  Montpelier,  September  28,  1823.  Died  in  Paris,  January  22,  1889. 

A pupil  of  Picot.  Cabanel  was  the  incarnation  of  the  Academic, 
and  as  such  v/as  laden  with  orders  and  offices,  amid  the  tumultuous 
applause  of  the  public.  His  pictures  are  always  blamelessly  drawn,  well 
painted,  but  they  leave  one  cold  and  untouched.  His  art  has  been 
described  as  “graceful,  delicate  and  insipid.” 

As  the  master  of  Benjamin  Constant,  Bastien-Lepage,  Albert  Besnard 
and  others  he  wielded  considerable  influence  on  the  art  of  his  time. 

44.  CONTEMPLATION 

Full  length  figure  of  a young  woman  in  white  blouse 
and  blue  skirt,  seated. 

36  inches  x 44  inches. 


Wilstach  Bequest. 


18 


CACHOUD,  FRANCOIS 

French.  Born,  1866,  in  Chambery. 

A pupil  of  Delaunay  and  of  Gustave  Moreau. 

45.  THE  HOUR  OF  THE  CRICKET.  (L’Heure  du  Gril- 
lon) 

A man  is  pulling  a punt  up  to  the  bank  on  the  right  among 
willow  trees.  Moonlight.  Hills  in  the  left  distance. 

Signed  and  dated  1902, 

5534  inches  x 7934  inches. 

Purchased  September,  1902. 

46.  A TURN  IN  THE  ROAD;  MOONLIGHT 

A road  turns  in  the  middle  distance,  with  a shed  on 
either  side. 

2334  inches  x 29  inches. 

Purchased  August  30,  1916. 


CAGNACCI,  GUIDO,  Attributed  to 

Bolognese.  Born  at  Castel  San  Arcangelo,  near  Rimini,  1601.  Died  in  Vienna,  1681. 

Cagnacci,  so  nicknamed  frpm  his  deformity,  but  Guido  Canlassi  in 
point  of  fact,  was  a pupil  of  Guido  Reni,  as  the  subjoined  picture  tends 
to  indicate. 

47.  DIANA  ASLEEP 

Full  length  figure  of  the  goddess  reclining  in  a white 
robe,  blue  sash  and  red  mantle.  Her  legs  toward  the  right. 
Landscape  on  the  right. 

3834  inches  x 5834  inches. 

Formerly  catalogued  as  Murillo:  “Venus  Asleep.”  The 
present  attribution  is  based  on  the  “Tarquinius  and 
Lucretia,  ” by  Cagnacci,  in  the  Wallace  Collection  (No.  643), 
and  the  original  in  the  Academy  of  San  Luca  at  Rome. 

Purchased  January  8,  1904. 

19 


CAMPI,  GIULIO,  Attributed  to 

Cremonese.  Born  at  Cremona,  1500.  Died,  1572.  (Formerly  attributed  to  Angelo 
Bronzino.) 

Giulio  Campi  was  possibly  a pupil  of  his  father,  Galeazzo  Campi,  and 
formed  under  Romanino,  but  various  influences  combined  to  create  his 
style. 


48.  A PORTRAIT  OF  A LADY 

Three-quarter  length,  three-quarters  to  the  left.  In  a 
black  dress  with  white  lace  and  cuffs  and  cap  of  rich  tex- 
ture. The  right  hand  raised  to  her  breast,  the  left  holding 
a glove.  Green  curtain  background. 

Wood,  393^  inches  x 34  inches. 

Purchased  May  15,  1896. 

It  is  difficult  to  accept  the  traditional  ascription  of  this 
portrait  as  of  “A  Princess  of  the  Sciarra  Family,”  by 
Angelo  Bronzino.  It  is  true  that  Campi  and  Bronzino — or 
rather  the  members  of  those  artist  families  here  designated 
— were  exact  contemporaries.  But  there  is  nothing 
Florentine  about  this  portrait. 

One  may  compare  this  with  the  figure  of  the  Virgin, 
seated  high  up  on  the  left  and  looking  down  in  profile  to 
the  right,  in  the  “Madonna  and  Child  with  St.  Peter, 
two  other  Saints  and  a Kneeling  Nun”  in  the  Rudolfinum 
at  Prague  (No.  98  in  the  1912  Catalogue).  It  will  be  seen 
that  in  technique  (as  far  as  one  may  judge  by  photo- 
graphs), in  the  treatment  of  the  ears,  hands,  massive  oval 
of  the  face  and  its  outline,  the  two  pictures  are  closely 
related.  The  Prague  panel  is  signed  and  dated  1525. 

The  morphological  characteristics  seen  here  may  be 
compared  also  with  the  figure  of  the  Virgin,  kneeling  to 
the  left  and  seen  in  profile,  in  the  “Madonna  with  two 
Saints  and  two  Donors”  in  the  Brera  Gallery  at  Milan 
(1907  Catalogue,  No.  329,  and  illustrated  in  Corrado 
Ricci:  “Pinacoteca  di  Brera,”  p.  68).  Reference  may  also 
be  made  to  the  two  women  in  the  center  in  the  “Christ 
Preaching  in  the  Temple”  and  to  the  female  figures  in  the 
“Presentation  in  the  Temple,”  both  in  the  Church  of  S. 
Margherita  at  Cremona. 


20 


GIULIO  CAMPI 
A Portrait  of  a Lady 


^si/m 

'#  V ^,'  ‘s  ..’"K 

. ■'■  v¥-r-'is 


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v-- 


. J.>  . 


CANO,  ALONSO 

Spanish.  Born  at  Granada,  1601,  where  he  died,  1667, 

Painter,  sculptor  and  architect,  he  was  purely  Spanish  by  training. 
His  master  in  painting  was  Pacheco,  the  teacher  and  father-in-law  of 
Velasquez.  He  was  a painter  whose  work  is  not  yet  sufficiently  esteemed. 


49.  A CARTHUSIAN 

In  a white  habit  with  hood;  seated  three-quarters  to 
the  right,  holding  a document  in  the  left  hand, 

383^  inches  x 293^8  inches. 

Purchased  January  8,  1904. 


CAPELLE,  JAN  VAN  DER.  See  Dutch  School 

CARIANI,  GIOVANNI  BUSI,  Called  Cariani 
See  under  Palma  Vecchio. 


CARO-DELVAILLE,  HENRI 

French.  Born,  June  7,  1876,  in  Bayonne.  Contemporary. 

He  studied  first  in  Bayonne,  then  under  Leon  Bonnat  in  Paris  and 
travelled  in  Spain.  He  was  infiuenced  at  the  same  time  by  Renoir  and 
Whistler.  His  southern  sympathy  with  the  Spanish  school,  combined 
with  the  strong  realism  of  Bonnat,  the  suavity  of  Whistler  and  the 
impressionism  of  Renoir,  developed  in  Caro-Delvaille  a singularly 
personal  style.  He  is  primarily  the  painter  of  elegant  Parisian  women, 
whom  he  portrays  boldly  and  brilliantly. 


50.  A WOMAN  LOOSENING  HER  HAIR 

Three-quarter  length,  three-quarters  to  the  left.  A 
nude  woman  with  her  hands  up  to  her  head.  Her  clothes 
on  the  table  to  the  left. 

Signed  and  dated  1907-08. 

See  the  Studio,  1903,  Vol.  19,  p.  138. 

5534  inches  X 393^2  inches. 

Purchased  August  6,  1908. 

21 


CAROLUS-DURAN,  CHARLES  EMILE 
AUGUSTE 

French.  Born  in  Lille,  July  4,  1837.  Died,  1917. 

A painter  of  portraits  and  history  as  well  as  of  landscape  and  genre. 
He  first  exhibited  at  the  Salon  in  1865.  One  of  the  Founders  of  the 
Societe  Nationale  des  Beaux  Arts,  he  became  its  president  in  1898. 

51.  THE  POPE^S  CHAMBERLAIN 

Full  length,  life-size  portrait  of  the  Chamberlain  in 
black  court  dress,  white  ruff  and  cuffs. 

Signed  and  dated  “Rome,  Mars,  1908.’’ 

79^  inches  x 46%  inches. 

Purchased  August  30,  1916. 

52.  A COUNTRY  SCENE  IN  SAVOY 

Marshy  land,  seen  under  a cloudy  sky.  Blue-green  in 
tone. 

Signed  and  dated  1900. 

29%  inches  x 39%  inches. 

Purchased  April  16,  1917. 


CARRACCI,  LODOVICO 

Bolognese.  Born  at  Bologna,  1555.  Died,  1619. 

The  founder  of  the  once  successful  and  long  esteemed  school  at 
Bologna.  His  works  illustrate  the  eclectic  style  that  once  prevailed,  but 
is  not  today  highly  rated.  He  was  the  uncle  of  Agostino  and  Annibale 
Carracci,  who  continued  the  eclectic  school. 

53.  ST.  SEBASTIAN 

Small,  full  length  figure.  His  right  side  pierced  by  two 
arrows,  he  gazes  anxiously  to  heaven. 

39  inches  x 29%  inches. 

Purchased  January  8,  1904. 

CASSATT,  MARY 

American.  Contemporary.  Born  in  Pittsburgh,  Pa.,  1855.  Lives  in  Paris. 

One  of  the  leading  painters  of  the  Impressionist  sehool.  A pupil  of 
Edouard  Manet,  and  influenced  by  Degas. 


22 


Woman  and  Child  Driving 


WILLIAM  M.  CHASE 
Still  Life 


54.  ON  THE  BALCONY 

Two  young  Italian  women  and  a man  on  a balcony. 

403^  inches  x 33  inches. 

Gift  of  John  G.  Johnson,  Esq.,  October  15,  1906. 

55.  WOMAN  AND  CHILD  DRIVING 

Plate 

A woman  is  seated  in  a two-wheel  cart,  driving  through 
a wood.  She  is  accompanied  by  a little  girl,  while  a groom 
is  seated  behind. 

Signed. 

Purchased  1921.  35  inches  x 52^  inches. 

CAVE,  JULES  CYRILLE 

French.  Born,  1859,  in  Paris.  Contemporary. 

Pupil  of  Bouguereau  and  of  Robert-FIeury.  A painter  of  portraits 
and  of  flowers. 

56.  FROM  THE  FIELD 

A young  peasant  woman,  dressed  in  brown  and  gray 
and  wearing  sabots,  is  seated  with  her  hands  in  her  lap 
and  seen  at  full  length,  turned  towards  the  left.  Plain 
background. 

Signed  and  dated  1912.  523^  inches  x 38^  inches. 

Purchased  October  18,  1912. 

CHASE,  WILLIAM  MERRITT,  N.  A. 

American.  Born  at  Franklin,  Ind.,  November  1,  1849.  Died,  October  25,  1916. 

He  worked  first  under  Benjamin  F.  Hayes,  at  Indianapolis,  and  then, 
at  the  age  of  twenty,  came  to  New  York;  later  he  studied  for  five  years 
at  Munich  under  Piloty  and  Leibl.  In  Spain  he  copied  Velasquez  and 
in  London  he  fell  under  the  influence  of  Whistler.  Hence  he  developed 
a versatility  and  a wide  range  in  various  media,  oil,  water  color,  gouache 
and  pastel.  The  influence  of  Piloty  and  Velasquez  led  him  to  be  inter- 
ested in  still-life  and  he  was  one  of  the  first  Americans  to  revive  the  art 
of  still-life  painting  in  the  broad  manner  of  Velasquez,  Chardin  and 
Manet. 

57.  STILL-LIFE 

Plate 

A metal  urn,  ewer,  two  bowls  and  a red  pepper  on  a table. 
Signed. 


23 


Listed  in  Catalogue  of  Loan  Exhibition  of  Paintings  by 
Chase,  Metropolitan  Museum,  1917,  p.  xxiv. 

Purchased  March  8,  1895.  283^2  inches  x 36  inches. 

CIGNANI,  CARLO 

Bolognese.  Born  at  Bologna,  1628.  Died  at  Forli,  1719. 

Forming  himself  on  a study  of  the  works  of  Correggio  and  the  Car- 
racci, he  endeavored  to  work  in  the  grand  manner.  Facility  of  concep- 
tion was,  however,  followed  by  difficulties  of  execution.  Yet  he  attained 
academic  success  in  a debased  period. 

58.  A MARTYRDOM 

Clad  in  blue  tunic  and  yellow  mantle,  St.  Cyril,  if  it 
be  he,  is  writing  on  a tablet  with  his  stylus.  An  angel 
above  is  about  to  place  a crown  on  his  head.  On  the  right 
a Roman  official  is  enthroned. 

Purchased  July  8,  1904.  H5M  inches  x 75  inches. 


CLAESZ,  PIETER,  of  Haarlem 

Dutch.  Born  at  Burg-Steinfurt,  Westphalia,  arbout  1590,  settled  at  Haarlem  before 
1617,  where  he  was  buried,  January  1,  1661.  The  father  of  Claes  Berchem,  noted  land- 
scape painter. 

The  works  of  Pieter  Claesz  are  prized  by  European  galleries  for  their 
simple  rendering  of  “breakfasts.”  As  a still-life  painter  he  influenced 
Chardin. 


59.  BREAKFAST  PIECE 

A charcoal  brazier,  herring,  tobacco,  pipe,  tinder  box, 
pipe  lighters,  glass  beaker,  metal  pot,  all  on  a table. 

Signed  with  the  artist’s  monogram  (the  P and  C inter- 
aced)  and  dated  1642,  cf.  Pennsylvania  Museum  Bulle- 
fin,  February,  1922,  where  it  is  published. 

Wood,  15  inches  x 2134  inches. 

Purchased  from  the  Raedt  van  Oldenbarneveld  Collec- 
tion, Holland,  April,  1902. 


CLAUSEN,  GEORGE,  R.  A. 

English.  Born,  1852,  in  London,  where  he  now  lives  and  works. 

He  studied  in  the  South  Kensington  Schools  and  under  Bouguereau 
in  Paris,  and  is  known  as  a painter  of  figure  and  of  landscape. 

24 


60.  PLANTING  A TREE 

A farmer  and  his  boy  planting  a tree  in  a field. 

Signed  and  dated  1881.  303^  inches  x 2534  inches. 

Given  by  John  G.  Johnson,  Esq.,  October  15,  1906. 

CLAYS,  JEAN  PAUL 

Belgian.  Born  in  Bruges,  1819.  Died  in  Brussels,  February  9,  1900. 

A painter  who  received  high  honors  in  his  lifetime.  Although  a 
Belgian,  he  was  trained  in  Paris.  His  reputation  rests  upon  his  marine 
scenes  and  harbor  views.  ' 

Wilstach  Bequest. 

61.  MARINE  VIEW 

Several  sailing  vessels;  gulls  skim  the  water.  A water 
mill  in  the  center  distance. 

Signed  and  dated  1870.  29  inches  x 4234  inches. 

Wilstach  Bequest. 

62.  MARINE  VIEW 

Sailing  vessels  in  a choppy  sea;  a steamer  further  out 
at  sea  in  the  right  background.  Cloudy  sky. 

Signed. 

Wilstach  Bequest.  10  inches  x 16  inches. 

CONSTABLE,  JOHN,  R.  A. 

English.  Born  at  East  Bergholt,  Suffolk,  June  11,  1776.  Died  in  London,  April  1 
1837. 

For  many  years  he  struggled  against  the  traditions  of  “the  brown  tree 
school.”  But  in  the  end  he  won  recognition  for  the  desirability  of  render- 
ing the  grays  and  greens  of  cultivated  landscape  and  the  action  of  the 
sun  on  wet  grass.  His  example  was  readily  adopted  by  the  Barbizon 
School  in  France. 

63.  THE  OLD  CHAIN  PIER,  BRIGHTON 

View  from  the  seashore,  looking  towards  the  old  pier. 
Sailing  vessels  on  the  beach  on  the  left;  beyond  them, 
houses  on  the  Marine  Parade.  Sailing  vessels  on  the  right. 
Purchased  May  15,  1896.  23^  inches  x 3834  inches. 

Evidently  painted  about  1824,  when  Constable  was  in 
Brighton,  as  he  was  also  in  1826  and  1828.  The  continued 
ill-health  of  his  eldest  son  caused  these  journeys  to  a place 
that  he  cordially  disliked  as  a “receptacle  of  the  fashion 
and  off-scouring  of  London.” 


25 


Perhaps  this  is  the  picture  exhibited  at  the  Royal 
Academy  in  1827,  No.  186.  Presumably  that  shown  at 
Burlington  House,  1890,  No.  55,  by  Henry  Reeve. 

The  Victoria  and  Albert  Museum  possesses  a water- 
color  drawing  (4J4  inches  x 163^  inches)  of  the  “Chain 
Pier,  Brighton,”  and  three  drawings  of  Brighton  Beach  by 
Constable.  It  also  contains  several  small  oil  sketches  on 
paper,  dated  in  June  and  July,  1824,  of  “Brighton  Beach.” 
A picture  of  the  same  subject  in  a similar  light  is  to  be 
found  in  the  Johnson  Collection,  Philadelphia,  Pa. 


COROT,  JEAN  BAPTISTE  CAMILLE 

French.  Born  in  Paris,  July  20,  1796.  Died  in  Paris,  February  23,  1875. 

Corot  was  a prolific  painter  of  various  subjects,  but  he  is  best  known 
for  his  landscapes.  In  1826,  he  went  to  Rome,  where  he  painted  classical 
ruins.  This  experience  gave  to  all  his  art  a classical  quality,  rhythmic, 
and  serene,  in  spite  of  the  fact  that  his  pictures  are  mostly  views  of  his 
Ville  d’Avray.  He  was  a poetic  painter,  happy  in  spirit,  and  successful. 
Fortunate  throughout  his  life,  receiving  many  honors,  he  is  still  esteemed 
as  one  of  the  most  gifted  landscapists  of  the  French  school. 

64.  LANDSCAPE 

Plate 

A man  is  in  his  punt;  a cow  stands  in  the  water.  A 
mill  is  on  the  far  side  of  the  dam  in  the  center  distance. 
Signed. 

Wood,  12  inches  x 19  inches. 

Wilstach  Bequest. 

65.  ARCHITECTURAL  STUDY 

Sketch  of  the  fagade  of  a house  with  classical  archi- 
tectural features  above  the  doorway. 

Signed. 

1234  inches  x 8^  inches. 

Purchased  October  29,  1897. 

CORRADI,  GIACINTO 

Neapolitan.  Born  at  Molfetti,  1693.  Died  at  Naples,  1765. 

A travelled  and  successful  painter,  he  worked  at  Rome  until  1753, 
when  he  was  invited  by  Ferdinand  VI  to  Spain.  He  remained  until 
1761,  winning  for  himself  a reputation  comparable  to  that  of  Don 
Alonso  de  Tobar  as  an  imitator  of  Murillo. 


26 


JOHN  CONSTABLE 
The  Old  Chain  Pier,  Brighton 


CAMILLE  COROT 
Landscape 


66.  ST.  JOSEPH  AND  THE  INFANT  CHRIST 

Three-quarter  length  figure  of  the  Saint,  bearded,  and  in 
yellow,  who  holds  the  Infant  standing  on  his  knee. 
Purchased  January  8,  1904. 

4534  inches  x inches. 

COSTA,  LORENZO.  School  of 

Bolognese. 

Lorenzo  Costa  was  born  at  Ferrara,  1460,  and  is  supposed  to  have 
been  a pupil  either  of  Cosimo  Tura  or  of  Francesco  Cossa.  He  came  to 
Bologna  in  1480,  where  he  worked  until  1509,  thereafter  working  at 
Mantua  until  his  death  in  1535.  His  chief  pupil  was  Francesco  Francia, 
also  represented  in  this  collection.  While  this  picture  is  signed  L.  Costa 
and  dated  1495  on  St.  Catherine’s  wheel,  it  is  doubtful  whether  it  is  by 
his  hand.  In  any  case  it  is  an  example  of  the  Bolognese  school  of  this 
period. 

67.  MADONNA  AND  CHILD  WITH  SAINTS 

The  Virgin  is  seated  high  on  the  throne,  on  the  steps 
of  which  are  two  musician  angels.  In  the  left  foreground 
stand  Bartholomew,  with  his  knife,  and  St.  Catherine  of 
Alexandria,  with  her  wheel.  On  the  right  are  St.  Am- 
brose (.f^)  and  St.  Sebastian. 

7234  inches  x inches. 

Purchased  January  8,  1904. 

COTTET,  CHARLES 

French.  Born  at  Puy,  Haute  Loire,  July  12,  1863.  Contemporary. 

Studied  at  the  Julien  Academy,  Paris,  and  then  with  Roll.  In  1888, 
he  went  for  a long  stay  to  Holland  and  then  became  a landscape  and  still- 
life  painter.  He  joined  the  Post  Impressionist  movement  with  Emile 
Bernard,  Maurice  Denis,  Gauguin,  van  Goch,  Toulouse-Lantree, 
Zuloaga  and  others,  but  did  not  become  a radical  revolutionary  in  art. 
In  1890,  he,  with  Jacques  Blanche,  Rene  Menard,  Lucien  Simon  and 
others,  founded  the  Societe  Nationale  des  Beaux  Arts.  Since  that  time 
his  palette  became  darker  and  thicker.  He  lives  in  Paris. 

68.  MARINE-PIECE 

Fishing  smacks  in  the  harbor,  seen  by  moonlight. 
Signed. 

353^  inches  x 43J^  inches. 
Given  by  John  G.  Johnson,  Esq.,  October,  1907. 

27 


COURBET,  GUSTAVE 

French.  Born  in  Ornans,  Franche-Comte,  June  10, 1819.  Died  at  La  Tour  de  Peilz, 
near  Vevey,  Switzerland,  December  31,  1877. 

As  the  leader  of  the  realist  movement  in  French  art,  and  a revolu- 
tionary spirit,  Courbet  met  with  little  but  adverse  criticism  at  the  hands 
of  his  contemporaries,  so  that  his  life  was  embittered  by  lack  of  recogni- 
tion. Yet  he  was  a powerful  painter,  with  a wholesome  influence  on 
later  art. 


69.  A VIEW  OF  ORNAFTS 

Cattle  and  figures  near  a lake  in  the  foreground; 
houses  beyond,  and  a high  rock  in  the  distance. 

Signed. 

18  inches  x 21^  inches. 

Purchased  January  8,  1895. 

70.  A RILL  IN  THE  MOUNTAIN 

Water  flows  between  two  mountain  passes  into  the 
stream  in  the  foreground. 

Signed  and  dated  1873. 

2134  inches  x 25^  inches. 
Given  by  John  G.  Johnson,  Esq.,  October,  1907. 

71.  THE  WAVES 

The  waves  occupy  the  main  portion  of  the  composition. 
A boat  is  on  the  bank  in  the  foreground. 

Signed. 

29  inches  x 58 inches. 
Given  by  John  G.  Johnson,  Esq.,  March,  1905. 


GRAYER,  GASPAR  DE 

Flemish.  Born  in  Antwerp,  April  1,  1582.  Baptized  at  Antwerp,  November  18, 
1584.  Died  in  Ghent,  January  27,  1669. 

A pupil  of  Raphael  van  Coxyen,  but  more  influenced  by  Rubens. 
The  contemporary  of  Rubens  and  van  Dyck,  he  gave  proof  of  early 
ability,  more  especially  in  producing  large  religious  paintings.  Grandeur 
rather  than  genius,  knowledge  rather  than  simplicity,  will  be  found  in 
his  works. 


72.  ST.  BENEDICT  AND  TOTILA 

On  the  left  St.  Benedict,  habited  in  black,  outside  his 
Monastery,  accompanied  by  three  others  of  his  Order, 

28 


receives  Totila,  King  of  the  Goths,  who,  escorted  by  a large 
retinue,  prostrates  himself  before  the  Saint.  On  the 
ground  is  the  emblematic  raven  biting  a piece  of  bread. 
On  the  extreme  right  soldiers  hold  the  horses  of  the  prin- 
cipal personages. 

111%  inches  x 213%  inches. 

The  legendary  incident  here  represented  is  that  of 
Totila’s  visit  to  St.  Benedict  in  A.  D.  540  with  a view  to 
obtaining  his  blessing  after  leading,  it  is  said,  an  unex- 
emplary  life. 

Purchased  October  25,  1900. 


CRIVELLI,  VITTORIO 

Venetian.  Flourished,  1480-1490. 

A relation,  pupil  and  continuateur  of  Carlo  Crivelll,  1430(.?)-1493(.^), 
Vittorio  produced  pictures  remarkable  for  their  fanciful  dry  and  techni- 
cally peculiar  characteristics. 

73.  THE  MADONNA  AND  CHILD  WITH  SAINTS 

Plates 

Small,  full  length  figures.  In  the  center  the  Virgin  is 
enthroned  before  a cloth  of  honor,  with  fruit  hanging 
from  the  throne.  Her  crown  and  the  jewels  on  the  edge  of 
her  robe  are  in  relief.  Her  robe  is  gold  and  blue  brocade, 
patterned  with  the  pomegranate.  The  Infant  stands  on 
the  small  cushion  placed  on  her  lap.  On  either  side  of  the 
throne  and  behind  the  low  wall  of  the  hortus  clausus  is  an 
angel  who  holds  fruit.  In  the  foreground  to  the  left  and 
right  kneel  angelic  musicians.  Carnations  are  in  a glass 
vase  in  the  foreground. 

In  the  outer  left  panel  St.  Bonaventura  stands,  facing 
inward,  the  orphreys  of  his  cope  adorned  with  figures  of 
saints.  A book  is  in  his  right  hand,  from  which  by  its 
strings  hangs  his  cardinal’s  hat.  (It  often  hangs  from  a 
tree,  as  on  the  arrival  of  the  papal  nuncios  to  present  it  to 
him  he  was  encumbered  with  washing  his  plate  after 
dinner.)  A jeweled  crucifix  in  his  left  hand.  He  wears  also  a 
jeweled  mitre,  gloves  and  rings.  Full  length  figure; 
three-quarters  to  the  right.  The  background  arched, 
stamped  and  patterned. 


29 


In  the  inner  left  panel  St.  John  the  Baptist,  turned 
slightly  to  the  right,  with  the  reed  cross,  lamb  and  scroll. 
At  his  feet  kneels  inward,  to  the  right,  the  diminutive 
donor  in  red  and  gold  brocaded  robe  and  red  biretta, 
his  hands  folded. 

In  the  outer  right  panel  St.  Louis  of  Toulouse,  with 
book,  crozier  and  crown;  his  fleur-de-lis  patterned  on  his 
blue  and  gold  brocaded  robe,  with  figures  of  the  prophets 
in  the  niches  of  the  orphreys,  standing  inward  to  the  left. 

In  the  inner  right  panel  St.  Francis  in  brown  habit, 
with  a book  in  his  left  hand,  in  his  right  the  crucifix,  from 
which  radiate  the  gold  lines  that  symbolize  the  stigmata. 
A skull  is  on  the  table  in  the  background. 

Wood,  each  panel  arched,  gilt  and  patterned;  the 
center  55  inches  x 29^  inches;  each  side  panel  49^^  inches 
X 15  inches. 

This  altarpiece  recalls  such  rare  works  by  this  infrequent 
painter  as  the  single  tiered  picture  of  the  Lateran  Gallery, 
the  double-tiered  ancona  at  San  Severino,  and  the  out- 
standing work  at  Torre  di  Palma.  Moreover,  the  rela- 
tionship of  this  altarpiece  by  Vittorio  to  Carlo  Crivelli’s, 
of  1482,  in  the  Vatican  is  to  be  noted. 

First  published  by  F.  M.  Perkins  in  '^Rassegna  d' Arte,'* 
July,  1908,  p.  120,  where  it  was  described  as  “among  the 
best  works  of  the  artist.” 

Ricci  cites  certain  manuscripts  in  support  of  a state- 
ment that  Carlo  Crivelli  and  his  brother,  Ridolfo(.^), 
were  employed  in  1487  by  the  Vinci  family  at  Fermo. 
But  there  are  no  pictures  by  any  Crivelli  with  the  Christian 
name  Ridolfo;  whilst  the  picture  still  (?)  preserved  in  the 
family  of  Vinci  is  authoritatively  stated  to  have  borne 
the  following  inscription:  “Opus  Victoris  Crivell.  Venet. 
MCCCCLXXXI.”  Of  this  picture,  the  arched  center 
(wood,  figures  two-thirds  of  life)  represents  the  Virgin 
enthroned  with  the  Child  in  her  lap  in  benediction,  between 
four  angels,  of  which  two  play  instruments  in  the  fore- 
ground. In  four  side  panels  we  have  the  Baptist,  at  whose 
feet  a small  figure  kneels  in  prayer;  St.  Bonaventura 
with  the  tree,  in  which  is  a miniature  Christ;  St.  Francis 
receiving  the  stigmata;  and  St.  Louis  of  France.  Twelve 
predella  panels  comprise,  amongst  other  subjects,  the 
Pieta  and  Resurrection,  the  rest  being  figures  of  saints. 

30 


VITTORIO  CRIVELLI 
The  Madonna  with  Saints 
Center  Panel 


VITTORIO  CRIVELLI 
E Madonna  with  Saints 
Side  Panels 


The  above  inscription  is  behind  the  panel,  and  said  to  be 
a copy  of  the  original  one  on  the  old  frame.  The  style 
is  that  which  we  find  in  Vittorio’s  signed  altarpieces. 
Note. — This  work  is  now  in  the  Wilstach  Collection  at 
Philadelphia.  Crowe  and  Cavalcaselle : “Painting  in 

North  Italy,”  new  edition  by  Tancred  Borenius,  1912, 
Vol.  1,  p.  97. 

Bernhard  Berenson  in  his  “Venetian  Painting  in 
America,”  1916,  p.  24,  mentions  this  polyptych  of  1489  as 
“one  that  may  rank  with  Victor  Crivelli’s  best.” 

Purchased  October  16,  1^96. 

CRIVELLI,  VITTORIO,  School  of,  Sixteenth 
Century 

74.  ST.  JOHN  THE  BAPTIST 

Full  length  figure.  The  Saint  holds  in  his  left  hand  the 
reed  cross  with  the  scroll. 

Wood,  arched,  553^2  inches  x 18  inches. 

Formerly  catalogued  as  “St.  John,”  by  Vittorio  Cri- 
velli.  Probably  by  some  sixteenth  century  follower. 

Purchased  January  8,  1904. 

CROME,  JOHN  (“Old  Crome’’) 

English.  Born  in  Norwich,  1768.  Died,  April  22,  1821. 

At  the  age  of  twelve,  Crome  was  a physician’s  errand  boy,  but  soon 
after  he  apprenticed  himself  to  a local  sign  painter  of  Norwich,  from 
whom  he  learned  the  use  of  the  brush.  But  he  was  largely  self-taught, 
learning  most  from  the  old  Dutch  pictures  he  saw  in  the  houses  of  Nor- 
folk. His  admiration  for  the  works  of  Hobbema  is  well-known,  as  also 
the  fact  that  he  painted  “for  the  sake  of  air  and  space.”  Only  in  recent 
years  have  his  pictures  met  with  due  recognition. 

75.  HAY  BARGES  ON  THE  YARE 

Plate 

Barges  and  some  rowboats  on  the  wide  river  that  runs 
through  the  hilly  country  on  the  right;  a low  bank  on  the 
left.  Cloudy  sky. 

303^  inches  x 40  inches. 

Purchased  October  1,  1906. 


31 


CROOS,  ANTHONY  JANSE  VAN 

Dutch.  Born  about  1606.  Died  in  The  Hague  about  1663. 

x\n  imitator  of  Jan  van  Goyen  (q.  v.),  whose  pupil  he  may  have  been. 

76.  RIVER  SCENE 

Fisherman  in  punt  'with  net  and  another  man;  a ruined 
castle  on  the  right  bank. 

Signed  and  dated  1648. 

Wood,  22  inches  x 22J/^  inches. 
Purchased  October  15,  1902. 


CROPSEY,  JASPER  FRANCIS 

American.  Born  in  Staten  Island,  February  18,  1823.  Died  at  Hastings-on-the- 
Hudson,  N.  Y.,  1900. 


77.  VIEW  NEAR  ROME 

Figures,  a monk  and  goats  in  a landscape;  ruins  in 
the  distance. 

Signed  and  dated  1847. 

27  inches  x 40  inches. 

Wilstach  Bequest. 


CUYP,  AELBERT 

Dutch.  Born  at  Dordrecht  in  October,  1620.  Died  there,  November  15,  1691. 

Pupil  of  his  father,  Jacob  Gerritsz  Cuyp,  and  influenced  by  Jan  van 
Goyen  and  Solomon  Ruysdael.  He  was  one  of  the  most  versatile  of 
Dutch  artists.  He  painted  portraits,  animals,  landscapes  and  various 
aspects  of  genre.  His  sense  of  the  golden  diffusion  of  sunlight  in  pictures 
recalls  the  name  and  aims  of  Claude. 

78.  COWS,  WITH  A MILKMAID,  AND  A SLEEPING 
HERDSMAN 
Plate 

On  the  bank  of  a river  a herdsman  is  asleep  near  two 
metal  milk  cans;  further  to  the  right  are  three  cows;  a 

32 


Hay  Barges  on  the  Yare 


Cows,  WITH  A Milkmaid  and  Sleeping  Herdsman 


milkmaid  approaches  from  the  right.  Blue  sky  with 
clouds. 

Signed. 

493^  inches  x 67  inches. 

Purchased  September  21,  1905. 

In  the  collection  of  Pierre  de  Grandpre,  Paris,  February 
16,  1809. 

In  the  collection  of  O.  Pein,  Cologne,  October  29,  1888, 
No.  22. 

In  that  of  Rumerskirch,  Munich,  March  23,  1903,  No. 
18. 

Smith:  “Catalogue  Raisonne,”  Vol.  V,  p.  314,  No.  108. 
Ch.  Blanc:  “Le  Tresor  de  la  Curiosite,”  Vol.  II,  p. 
264. 

H.  de  Groot:  “Smith’s  Catalogue  Raisonne,”  1909, 
Vol.  II,  p.  343. 

Sedelmeyer:  “Catalogue  of  Paintings,”  Ninth  Series, 
1905,  No.  5. 


CUYP,  JACOB  GERRITSZ,  Attributed  to 

Dutch.  Born  at  Dordrecht,  December,  1594.  Died  in  the  same  place,  1651  or  1652. 

He  was  the  father  of  Albert  and  Benjamin  Cuyp.  Successful  in  his 
profession,  he  is  best  known  for  his  portraits. 

79.  PORTRAIT  OF  A LADY 

Bust,  turned  three-quarters  to  the  left.  Wearing  a black 
dress,  with  ruff  and  cap. 

Wood.  In  a feigned  oval.  293^8  inches  x 22^  inches. 
Given  by  John  G.  Johnson,  October,  1907. 


DAGNAN-BOUVERET,  PASCAL  ADOLPHE 
JEAN 

French.  Born  in  Paris,  Janary  7,  1852.  Died — — 

A pupil  of  Gerome,  he  became  successful  at  the  early  age  of  twenty- 
seven,  with  his  sympathetic  renderings  of  contemporary  life.  He  was  a 
poetic  realist  of  the  school  of  Millet,  Bastien-Lepage,  Roland,  Jules 
Breton.  Brittany  furnished  him  his  best  inspiration.  He  particularly 
delighted  in  the  Breton  peasants  at  church  or  in  festive  attire. 

33 


80.  A YOUNG  BRETON  WOMAN 

Small,  three-quarter  length  figure,  seated  towards  the 
left.  In  black  dress,  white  collar  and  ample  starched 
headdress. 

Signed. 

18%  inches  x 14%  inches. 

Purchased  January  27,  1917. 

DARLEY,  JANE  COOPER 

American.  1807-1877. 

Jane  Cooper  Sully,  a daughter  of  Thomas  Sully,  the  painter,  married 
Henry  Westray  Darley  on  February  16,  1833.  She  died  March  3,  1877. 

81.  A TUSCAN  WOMAN 

Bust  length.  In  festa  attire  and  looking  towards  the 
right. 

Wilstach  Bequest.  20  inches  x 17  inches. 

DAUBIGNY,  CHARLES  FRANgOIS 

French.  Born  in  Paris,  February  15,  1817.  Died  there,  February  20,  1878. 

Daubigny  belonged  to  the  group  of  French  landscape  painters  made 
famous  by  Rousseau,  Diaz,  Dupre  and  Corot.  Daubigny  was  the 
painter  of  nature  familiar  to  man;  i.  e.,  inhabited  nature.  He  especially 
loved  river  scenes.  In  the  springtime  he  sailed  along  the  Oise  and 
painted  from  his  boat.  His  landscapes  are  noted  for  their  freshness  and 
wetness;  cool  and  green  in  tone. 

82.  TWILIGHT 

Sheep  are  on  the  left  on  the  bank  of  the  river,  which 
runs  across  the  right  foreground. 

Signed  and  dated  1868. 

17%  inches  x 31%  inches. 

Wilstach  Bequest. 

83.  LANDSCAPE 

Plate 

On  the  right  two  men  are  in  a punt  by  the  bank  of  a 
river.  Trees  on  the  left.  Houses  on  the  far  bank  in  the 
distance. 

Signed  and  dated  1865. 

Wilstach  Bequest.  Wood,  15  inches  x 26%  inches. 

34 


CHARLES  FRANCOIS  DAUBIGNY 
Landscape 


84.  OXEN  AND  CART 

Four-wheeled  wagon  with  open  sides,  drawn  by  oxen, 
in  a field,  with  the  herdsman  on  the  left. 

Signed  and  dated  1862. 

163^  inches  x 29  inches. 

Purchased  May  8,  1912. 


DAVID,  GERARD,  Attributed  to 

Flemish.  1450(?)-1523. 

The  last  of  the  great  tradition  of  primitive  Flemish  art,  when  Bruges 
was  being  superseded  by  Antwerp.  He  was  Memling’s  greatest  follower. 

85.  THE  NATIVITY 

In  the  center  Mary  kneels  before  the  manger  in  which 
lies  the  Infant.  Three  angels  are  also  kneeling  beside  the 
manger  and  others  are  flying  in  the  sky.  On  the  left  St. 
Joseph  holds  a candle,  the  light  of  which  he  shades  with 
his  right  hand. 

Wood,  483^  inches  x 2734  inches. 

Purchased  October  7,  1902. 

Bodenhausen:  “Gerard  David,”  1905,  p.  125,  mentions 
such  a composition  and  certain  copies  after  a lost  original. 
See  also  “Zeitschrift  f. » Bildkunst,”  1911,  Vol.  XXII, 
p.  189. 

[This  picture  is  probably  by  Jan  Jost,  a painter  who 
worked  under  the  influence  of  Geertjen  tot  St.  Jans,  and 
died  in  Haarlem,  1519.  His  masterpiece  is  the  large  altar 
in  the  church  of  Calcar.  A Nativity  at  night  in  the  John- 
son Collection,  Philadelphia,  attributed  to  this  master 
with  a question  mark,  by  Valentiner,  is  very  similar  to  it. 

Jan  Jost  was  possibly  a fellow-student  with  Gerard 
David  under  Geertjen.  If,  however,  David  never  came 
under  the  direct  influence  of  Geertjen,  he  did  so  through 
Albert  van  Ouwater.  In  any  case,  the  art  of  Gerard  David 
and  that  of  Jan  Jost  show  the  same  influences,  which  may 
account  for  the  difficulty  in  assigning  such  pictures  as 
ours  to  one  or  to  the  other.] 


35 


DE  CAMP,  JOSEPH  RODEFER 

American.  Born  in  Cincinnati,  Ohio,  November  5,  1858.  Lives  in  Medford,  Mass., 
and  North  Haven,  Maine. 

Pupil  of  the  Munich  Academy  and  of  Frank  Duveneck. 

A member  of  the  “Ten  American  Painters.”  Instructor,  School  of 
Boston  Museum  of  Fine  Arts. 

86.  THE  NEW  GOWN 

A woman  in  black,  low-cut  dress,  stands  in  the  corner 
of  a room,  looking  in  the  mirror.  A chair  is  behind  her  on 
the  left. 

36  inches  x 293^  inches. 

Purchased  March  11,  1903. 


DE  COCK,  CESAR 

Belgian.  Born  in  Ghent,  1820.  Died,  1904. 

87.  LANDSCAPE 

A man  walks  along  the  bank  of  a river;  another  seated 
on  the  ground  beyond;  cottages  and  trees. 

Signed  and  dated  1869. 

17  inches  x 24^  inches. 

Wilstach  Bequest. 


88.  THE  BROOK 


A stream  runs  through  the  wood,  seen  in  springtime. 
Signed  and  dated  1870. 

20  inches  x 2734  inches. 


Wilstach  Bequest. 


DEGAS,  HILAIRE  GERMAIN  EDGARD 

French.  Born  in  Paris,  July  19,  1834.  Died,  1917. 

Degas  began  as  a student  of  the  ficole  des  Beaux  Arts,  and  in  the 
course  of  his  training  went  through  all  the  phases  of  the  nineteenth 
century.  At  first  he  was  influenced  by  Ingres  and  Flandrin,  and  then  in 
turn  by  Chardin,  Delacroix,  Manet  and  the  Japanese,  but  he  remained 
throughout  his  life  a worshipper  of  the  great  draughtsman,  Ingres. 
From  the  original  and  bizarre  union  of  all  these  elements  he  formed  an 
entirely  personal  style.  He  despised  everything  pretty,  anecdotal, 

36 


banal.  Beauty  for  him  consisted  in  subtle  drawing  and  tone  values, 
and  he  was  chiefly  interested  in  new  problems  of  composition  and  light. 
In  search  of  novel  subjects  he  painted  trim  Parisian  laundresses,  little 
shopgirls,  ballet  dancers,  circus  riders,  women  at  the  bath,  court  scenes, 
portraits,  and  race  horses  with  their  jockeys.  He  was  noted  for  his 
dislike  of  publicity  and  yet  his  influence  on  French  art  was  greater  than 
that  of  any  other  man  of  his  day. 

89.  A JOCKEY 

Plate 

A horse  is  trotting  over  a field,  with  its  rider  in  jockey 
costume. 

Signed. 

Purchased  1921,  from  the  collection  of  Alexander  J. 
Cassatt. 

Pastel,  123^  inches  x 1934  inches. 

DELACROIX,  FERDINAND  VICTOR 
EUGfiNE 

French.  Born  in  Charenton-Saint-Maurice,  April  26,  1798.  Died  in  Paris,  August 
13,  1863. 

Fellow-pupil  of  Gericault  in  the  studio  of  Guerin.  Abandoning  the 
prevailing  classicism,  he  came  to  be  recognized  as  at  the  head  of  the 
Romantic  school.  A colorist,  he  painted  many  passionate  subjects. 

90.  LAMENDE  HONORABLE 
(“Interior  of  a Dominican  Convent  at  Madrid”) 

A Bishop  is  enthroned  on  the  left  in  a spacious  reception 
hall,  dimly  lit  and  hung  with  large  pictures.  Dominicans 
bring  forward  a man,  who  falls  on  his  knees  under  protest. 
A procession  of  Dominicans  advances  from  the  right. 

Dated  1831.  50  inches  x 6234  inches. 

Purchased  June,  1894. 

In  1831,  Delacroix  wrote  to  a friend,  in  regard  to  this 
picture,  that  he  had  “found  at  Rouen  material  out  of 
which  he  could  build  up  a picture.  We  shall  see  how  it 
develops  during  the  winter.”  In  consequence  he  set  to 
work  and  he  exhibited  it  at  the  Salon  of  1834,  No.  495, 
under  the  title  of  “Interior  of  a Convent  at  Madrid.” 
The  idea  represented  in  its  final  form  is,  that  a young  man 
of  good  birth,  being  forced  to  take  the  vows,  is  subjected 
to  ill-treatment  when  brought  before  a Bishop  who 
happens  to  visit  the  convent  or  monastery.  The  Palace 

37 


of  Justice  at  Rouen  had  afforded  the  original  setting  in  the 
mind  of  the  artist,  who  admittedly  took  his  inspiration 
from  the  English  novel,  “Melmoth,  the  Wanderer,”  by 
Charles  Robert  Maturin  (1782-1824);  it  was  performed 
in  1823  as  “A  Melodramatic  Romance.”  But  as  Moreau 
Nelaton:  “Eugene  Delacroix,”  1916,  VoL  I,  pp.  145-149, 
points  out,  “the  picture  still  enjoys  the  fame  that  the 
theme  which  inspired  it  has  completely  lost.” 

It  was  purchased  by  the  Due  d’Orleans,  and  was 
exhibited  in  Paris,  December,  1846,  under  the  title  of 
“Taking  the  Habit  in  a Dominican  Monastery.”  Subse- 
quently, by  order  of  the  Duchess,  it  was  sold  January  17, 
1853,  No.  18,  being  acquired  for  3,500  francs  by  van 
Tsaker,  a Belgian,  and  perhaps  a picture  dealer.  It 
appears  to  have  passed  before  long  into  the  Bouruet- 
Aubertot  collection. 

Theophile  Gautier  describes  the  picture:  see  Vvilstach 
Collection  Catalogue,  1903,  where  he  is  quoted. 

A picture  of  this  subject  was  lent  by  C.  Edwards  to  the 
International  Exhibition,  London,  1871,  No.  1194.  It 
was  shown  in  the  Delacroix  Exhibition,  Paris,  1885,  No. 
174  (39  inches  x 51  inches),  by  Mr.  Duncan  of  London. 

M.  Tourneux:  “Delacroix,”  1886,  p,  142. 

Moreau  Nelaton:  “Delacroix,”  Vol.  I,  pp.  121,  145, 
149,  163;  Vol.  II,  pp.  58,  114,  194. 


DELACROIX,  FERDINAND  VICTOR 
EUGENE  (after  Paolo  Veronese) 

91.  A GROUP 

Five  bust  length  figures.  Alfonso  D’Aralos,  as  the 
bridegroom,  and  Eleanora  of  Austria  the  bride;  to  the 
right  is  the  Sultan. 

25 3^2  inches  x 323/s  inches. 
Given  by  John  G.  Johnson,  Esq.,  November,  1912. 

A copy  of  a very  small  portion  of  the  group  of  illus- 
trious guests  seated  at  the  left  in  the  large  pieture  (21  feet 
X 32  feet)  of  “Cana  of  Galilee,”  by  Paolo  Veronese  (1528- 
1588),  in  the  Louvre. 


38 


EDGARD  DEGAS 


NARCISSO  DIAZ 

Venus  and  Cupid 


DELESSARD,  AUGUSTE  JOSEPH 

French.  Born,  April  6,  1827,  in  Paris.  Died  about  1890. 

He  was  a painter  of  genre  scenes,  interiors,  and  landscapes  with 
cattle.  Until  1890,  he  exhibited  regularly  in  the  Salon  of  the  Societe 
des  Beaux  Arts,  Paris. 

92.  EVENING  LANDSCAPE  WITH  SHEEP 
A shepherd  drives  his  sheep  through  a gap. 

Signed.  inches  x inches. 

Wilstach  Bequest.  ' 

DELVAILLE.  See  Caro-Delvaille 
DEMONT,  ADRIEN  LOUIS 

French.  Born,  October  25,  1851,  in  Douai.  Contemporary. 

A pupil  of  Corot  and  fimile  Breton,  and  a painter  of  landscape  with 
figures.  His  early  manner  shows  the  influence  of  the  Barbizon  School, 
but  later  he  painted  more  decorative  landscapes  in  heroic  mood. 

93.  A POPPY  FIELD 

A farm  laborer  with  a scythe  over  his  left  shoulder, 
followed  by  a woman  carrying  a bundle  on  her  back,  is 
walking  along  the  rough  path  through  a poppy  field  in 
full  bloom.  A village  in  the  left  distance. 

Signed.  343/2  inches  x SQJ/g  inches. 

Given  by  John  G.  Johnson,  Esq.,  June  14,  1904. 

DIAZ  DE  LA  PENA,  NARCISSO  VIRGILIO 

French.  Born  in  Bordeaux,  August  20,  1807.  Died  in  Mentone,  November  18,  1876. 

Narcisse  Virgile  Diaz  de  la  Pena  was  influenced  by  Delacroix  and  by 
Theodore  Rousseau.  He  in  time  became  a leading  member  in  the  School 
of  Barbizon,  painting  innumerable  scenes  in  the  forest  of  Fontainebleau. 

94.  VENUS  AND  CUPID 

Plate 

Small,  full  length  figures.  Venus  draped  in  red  below 
the  waist. 

Signed.  Wood,  11  inches  x 6J"2  inches. 

Wilstach  Bequest. 


39 


95. 


THE  FOREST  OF  FONTAINEBLEAU 
Plate 

Birch  trees  lit  by  the  sun.  Blue  sky  seen  through  the 
tops  of  the  trees. 

Signed  and  dated  1867. 

32  inches  x 423^  inches. 

Wilstach  Bequest. 

DOLCI,  CARLO 

Italian.  Born  in  Florence,  1616.  Died  there,  1686. 

A decadent  and  once  fashionable  painter  who,  self-conscious  in  out- 
look, and  calculating  in  the  affectation  of  spirituality,  has  little  attrac- 
tion for  the  modern  mind. 

96.  SALOME  WITH  THE  HEAD  OF  ST.  JOHN  THE 

BAPTIST 

Two  female  figures  on  the  far  side  of  a table  on  which  is 
the  head  of  St.  John  in  the  charger.  In  the  left  foreground 
is  the  youthful  St.  John  with  the  reed  cross  and  scroll: 
“Parate  Viam  Domini.” 

45  inches  x 39  inches. 

Purchased  January  8,  1904. 

DOSSO  DOSSI,  Giovanni  di  Nicolo  de  Lutero, 
called 

Ferrarese.  Born  about  1479  near  Ferrara.  Died  at  Ferrara,  1542. 

His  surname  is  supposed  to  have  been  derived  from  the  village  of 
Dosso  in  the  vicinity  of  Ferrara.  In  1512,  he  was  a pupil  of  Lorenzo 
Costa  in  Mantua.  Afterward,  with  his  brother,  Battista,  he  studied  in 
Rome,  and  for  eleven  years  in  Venice,  where  they  were  influenced  by 
Giorgione  and  Titian.  Dosso  Dossi  became  a painter  of  portraiture, 
history  and  mythology.  He  made  cartoons  for  tapestry  in  addition  to 
painting  frescoes  at  Ferrara.  His  early  manhood  is  original  and  roman- 
tic, but  later  he  became  at  times  careless  and  theatrical. 

97.  ORPHEUS 

Full  length,  life-size  figure,  nude  to  the  waist.  A green 
mantle  is  thrown  across  his  knees.  In  his  upraised  right 
hand  is  his  bow,  and  the  violin  in  his  left.  He  wears  a 
wreath.  Landscape  background  with  a city  on  the  left. 

763^  inches  x 4734  inches. 

Purchased  August,  1904. 


40 


DUGHET,  GASPARD.  See  Poussin 


DUNCAN,  EDWARD 

English.  Born  in  London,  1803.  Died,  1882. 

A painter  of  seapieces,  an  engraver  and  illustrator. 

98.  COAST  SCENE,  WITH  FISHERMEN 

A group  of  fishermen  on  the  shore;  a house  in  the  right 
distance.  , 

Signed  and  dated  1851. 

12  inches  x 18  inches. 

Wilstach  Bequest. 

DUPRE,  JULES 

French.  Born  at  Nantes,  1812.  Died  in  Paris,  October  7,  1889. 

The  son  of  a porcelain  manufacturer,  he  taught  himself  to  paint  land- 
scape with  simple  fidelity.  He  had  a high  appreciation  of  the  art  of  John 
Constable,  and  represented  landscape  with  a sense  of  air  and  space. 
He  was  the  last  of  the  Romantic  school  of  landscape  painters. 


99. 


SUNSET 


A view  of  a stream  with  a high  bank  on  the  right. 
Signed. 

19  inches  x 293^^  inches. 


Wilstach  Bequest. 


DUPUY,  PAUL  MICHEL 

French.  Born,  March  26,  1869,  in  Paris.  Contemporary. 

Pupil  of  the  ficole  des  Beaux  Arts  under  Bonnat.  Dupuy  is  an  expo- 
nent of  modern  French  academicism,  and  a painter  of  portraits  and  of 
the  figure. 


100.  THE  SHORE  AT  BIARRITZ 

A woman  and  her  little  girl,  with  a dog,  are  passing 
towards  the  left  along  the  seashore.  Other  women  are 
seated  on  the  right.  Numerous  figures;  the  sea  at  their 
left. 

Signed  and  dated  1916. 

23^  inches  x 32  inches. 

Purchased  February,  1917. 

41 


DUSART,  CORNELIS 

Dutch.  Born,  April  24,  1660,  at  Haarlem.  Died  there,  October  1,  1704. 

A painter  and  engraver,  the  pupil  and  imitator  of  Adrian  van  Ostade. 

101.  OUTSIDE  A VILLAGE  INN 

A kermesse  scene,  of  the  usual  seventeenth  century 
type.  A large  number  of  people  variously  employed. 
A group  is  at  the  table  in  the  left  foreground,  near  the 
window  of  the  village  inn.  Others  are  dancing  before 
booths  in  the  right  background;  a village  with  a church 
further  away. 

Signed  and  dated  1692. 

413^  inches  x 54^  inches. 

Purchased  October  2,  1900. 


DUYNEN,  ISAAC  VAN 

Dutch.  Born  supposedly  at  Dordrecht  or  Antwerp.  Worked  at  the  Hague  from 
1657  until  his  death  somewhere  between  1677-1681. 

A pupil  of  Abraham  van  Beyeren  {q.  v.)  and  like  his  master,  noted  for 
his  pictures  of  fish. 

102.  THE  HOUSE- WIFE 
(Formerly  catalogued  as  ‘‘Still-Life”) 

On  a table  in  the  foreground  a dish  with  fish,  a table- 
cloth, a lemon,  a knife,  plates,  pots  and  pans  are  grouped; 
vessels,  vegetables  and  a fish  hang  on  the  wall  to  the  left. 
From  another  room  in  the  right  background  a woman  in  a 
red  dress  advances  to  the  table. 

293^  inches  x 35^  inches. 

Purchased  October  14,  1907. 

DUTCH  SCHOOL,  Seventeenth  Century.  (For- 
merly attributed  to  Jan  van  de  Capelle) 

103.  A FROZEN  RIVER 

Figures  are  skating.  A peasant’s  house  is  seen  in  the 
right  baekground;  a withered  tree,  covered  with  snow,  in 
the  left  foreground. 

44  inches  x 52  inehes. 

Purehased  October  2,  1900. 


42 


DUTCH  SCHOOL,  Seventeenth  Century 

104.  STILL-LIFE 

Cabbage,  fish,  oysters,  a cut  lemon  and  a vase  grouped 
on  a stone  table. 

31^  inches  x 363^  inches. 
Purchased  September  27,  1900. 


DUTCH  SCHOOL,  Seventeenth  Century.  (For- 
merly attributed  to  Abraham  van  Beyeren) 

105.  A MARINE  VIEW 

Various  sailing  vessels  running  before  the  wind  in  a 
choppy  sea.  Heavy  gray  clouds. 

27  inches  x 40  inches. 

Purchased  September  28,  1907. 

DYCK,  ANTHONIE  VAN  (Sir  Anthony  van 
Dyck) 

Flemish.  Born  in  Antwerp,  March  22,  1599.  Died  in  London,  December  9,  1641. 

At  first  a pupil  of  Hendrick  van  Balen,  later  of  Peter  Paul  Rubens, 
with  whom  he  worked  for  several  years  in  Antwerp.  In  1620-21  he 
worked  in  England.  In  1621-22  in  Italy  and  again  in  1623-1627.  In 
1632  he  accepted  the  invitation  of  Charles  I of  England  to  be  court 
painter,  and  was  knighted.  With  the  exception  of  several  short  visits 
to  the  Low  Countries  he  remained  in  England  until  his  death. 

Van  Dyck  was  one  of  the  most  precocious  of  geniuses  in  the  whole 
range  of  painting;  at  one  time,  in  early  manhood,  he  was,  in  a sense,  the 
instructor  of  his  master,  Rubefis.  He  painted  a large  number  of  religious 
and  mythological  works  as  well  as  portraits  of  imposing,  well-bred 
people.  He  is  not  to  be  judged  by  the  average  picture  of  his  London 
period. 

106.  CHRIST  ON  THE  CROSS 

Plate 

In  the  left  foreground  kneels  a Bishop  Saint,  and  in  the 
right  a Donor  in  armor.  On  either  side,  further  back, 
are  mounted  soldiers.  The  Eternal  Father  and  angels  in 
the  clouds. 

Wood,  133^2  inches  x 9 inches. 
Purchased  September  27,  1902. 

Since  being  cleaned,  this  appears  to  be  a work  of  the 
artist’s  second  Antwerp  period,  circa  1628-30,  when  van 


43 


Dyck  painted  several  large  pictures  of  this  subject.  But 
for  none  of  them  does  this  sketch  seem  to  have  been  used. 

VAN  DYCK,  Attributed  to 

107.  CHRIST  IN  THE  TOMB 

The  dead  Christ,  nude  but  for  the  loin  cloth,  is  minis- 
tered to  by  angels. 

Lunette,  443^  inches  x 68J^  inches. 

Purchased  January  8,  1904. 

VAN  DYCK,  After 

108.  PORTRAIT  OF  WOLFGANG  WILHELM,  PRINCE 

OF  PFALZ-NEUBURG 

Full  length  portrait  of  a tall,  bearded  man,  dressed  in 
black,  with  white  collar  and  cuffs  and  golila,  with  the 
general  bearing  of  a Spanish  grandee.  He  wears  the 
insignia  of  the  Order  of  the  Golden  Fleece.  The  thumb 
of  his  right  hand  is  thrust  through  part  of  his  doublet, 
the  thumb  of  his  left  through  the  guard  of  his  sword.  A 
red  curtain  in  the  right  background,  the  base  of  a columm 
in  the  left.  A large  dog,  a Great  Dane,  brindle  and  white, 
stands  in  the  left  foreground  by  his  master's  side.  The 
lettering  on  the  dog’s  collar  may  possibly  denote  his 
ownership. 

803^8  inches  x 5534  inches. 

Purchased  September,  1905. 

Smith:  “Catalogue  Raisonne,”  part  III,  p.  18,  No.  51, 
describes  a very  similar  picture  (75  inches  x 49  inches), 
now  in  the  Munich  Gallery,  No.  837  (81  inches  x 52 
inches).  It  is  reproduced  in  the  “Klassiker  der  Kunst,” 
volume  on  “van  Dyck,”  p.  230,  and  described  by  Lionel 
Cust:  “van  Dyck.”  It  appears  to  have  been  painted 
about  1628,  in  the  Netherlands,  after  the  artist’s  return 
from  Italy.  L.  Cust:  “van  Dyck,”  p.  258,  describes  the 
Munich  picture  and  adds  that  a drawing  in  chalk  is  in 
the  British  Museum,  and  that  it  was  engraved  (half 
length)  by  L.  Vorsterman  for  the  original  issue  of  the 
“ Iconographie.” 


44 


SIR  ANTHONY  VAN  DYCK 
Christ  on  the  Cross 


The  Catalogue  de  Luxe,  of  the  C.  T.  Yerkes  Collec- 
tion, No.  24,  describes  and  illustrates  an  apparently 
similar  portrait  (86  inches  x 533^  inches),  which  was 
included  in  the  sale  catalogue.  No.  141,  of  April,  1910. 
It  is  probably  that  now  in  the  collection  of  J.  N.  Willys 
at  Toledo,  Ohio. 

This  Count  Palatine  of  the  Rhine,  and  Duke  of  Juliers 
and  Cleves,  lived  1578-1653. 

It  will  be  noted  that  this  canvas  differs  slightly  in 
measurement  from  each  of  the  two  cited,  being  not  quite 
so  high  as  either  of  them.  Any  one  knowing  the  Munich 
picture,  which  has  been  not  too  well  restored,  would  be 
disposed  to  regard  this  as  a copy  of  it.  But  this  canvas 
is  by  no  means  modern  or  trivial  and  superficial  in  execu- 
tion. In  any  event  it  preserves  to  us  something  of  the 
well-poised  model,  well-characterized,  and  shown  against 
the  curtain  and  rug  which  have  enough  color  to  emphasize 
the  costume. 


VAN  DYCK,  Manner  of 

109.  PORTRAIT  (supposed  to  be  of  a lady  of  the  Balbi 

Family) 

Full  length.  Dressed  in  black,  seated  in  a chair  and 
turned  towards  the  right.  Holding  a stick  in  her  left 
hand  and  a book  in  her  right.  The  base  of  a column  and  a 
curtain  in  the  right  background. 

55^  inches  x 4434  inches. 

Evidently  a copy  after  some  van  Dyckian  composition 
that  we  cannot  determine. 


EDELFELT,  ALBERT  GUSTAF  ARISTIDE 

Finnish.  Born  in  Helsingfors,  July  21,  1854.  Died,  June,  1905. 

Although  Finnish  by  birth,  Edelfelt  was  Scandinavian  by  tradition, 
and  French  by  training.  He  was  a pupil  of  Gerome,  a recipient  of  the 
Grand  Prix,  1889,  and  a Knight  of  the  Legion  of  Honor,  1889.  He  is 
known  for  his  portraits  and  figure  subjects,  especially  of  boys  bathing. 

45 


110.  SEASCAPE 

Two  boys,  lying  on  a log  that  rests  on  the  stony  shore, 
are  looking  down  at  a toy  boat  which  they  are  sailing. 
Shipping  in  the  middle  distance  and  a town  beyond. 

Signed  and  dated  1884. 

35^  inches  x 42^  inches. 
Given  by  John  G.  Johnson,  Esq.,  October,  1906. 

111.  THE  WATER  LILIES 

A composition  seemingly  of  mythological  significance. 
A young  man,  almost  nude,  kneels  on  the  bank  on  the 
left;  he  eagerly  regards  the  form  of  a young  woman,  who 
passes  rapidly  through  the  water  towards  the  right. 
Water  lilies  in  the  foreground. 

Signed  and  dated  1897. 

363^  inches  x 52  inches. 

Purchased  August  12,  1897. 

EL  GRECO.  See  Greco 


ENGLISH  SCHOOL,  Eighteenth  Century 
Gainsborough  Dupont  (?) 

112.  PORTRAIT  OF  A GENTLEMAN 

Full  length,  small  figure  of  a man  in  black  knee  breeches, 
white  stockings,  yellow  vest,  and  blue  tail  coat;  his  right 
hand  resting  on  his  stick;  wearing  a tricorne  hat.  Land- 
scape background. 

50  inches  x 40  inches. 

Given  by  John  G.  Johnson,  Esq.,  November  5,  1912. 

[In  a letter  dated  November  26,  1912,  to  the  then 
Custodian  of  the  Wilstach  Collection,  Mr.  John  G.  John- 
son refers  to  this  picture  as  “ Gainsborough  Dupont’s  por- 
trait.” Whether  of  or  by  him  we  are  not  able  to  state. 
This  gentleman  was  a portrait  and  landscape  painter, 
born  1754,  died  January  20,  1797,  the  nephew  and  pupil 
of  Thomas  Gainsborough.] 


46 


FAVAI,  GENNARO 

Italian,  born  in  Venice,  1879. 

113.  THE  DOGE’S  PALACE 

In  the  right  distance  are  the  Doge’s  Palace  and  the 
Piazzetta.  Sailing  vessels  in  the  foreground.  The  Cam- 
panile in  the  left  distance. 

Signed. 

Wood,  43  inches  x 593^  inches. 
Purchased  February  20,  1917. 


114.  CA  MOSTO 

A gondola  is  moored  near  the  door  of  the  Venetian  casa 
on  the  Grand  Canal.  Two  figures  are  about  to  leave  the 
gondola  and  enter  the  building,  the  fagade  of  which  is 
decorated  with  Moorish  designs. 

Signed  and  dated  1906. 

463^  inches  x 57  inches. 

Purchased  August  12,  1907. 

The  twelfth  century  Casa  da  Mosto  is  famous;  it  is 
near  the  Ponte  di  Rialto. 


FLAMENG,  FRANgOIS 

French.  Born  in  Paris,  June  12,  l’S56.  Contemporary. 

Son  of  the  engraver,  Leopold  Flameng;  pupil  of  Cabanel  and  Jean 
Paul  Laurens.  He  is  a genre,  historical  and  portrait  painter,  as  well  as  an 
engraver  and  illustrator.  He  is  well  known  for  his  portraits  of  the 
people  of  the  fashionable  world,  but  perhaps  his  greatest  work  has  been  in 
the  realm  of  mural  decoration. 


115.  THE  ISLAND  OF  PUTEAUX 

Ladies  are  going  down  the  steps  on  the  river  bank  to 
enter  a large  rowboat;  other  boats  are  near.  The  island 
is  on  the  left.  Houseboats  in  the  right  distance,  and  the 
bridge  beyond. 

Signed  and  dated  1914. 

28 inches  x 36J^  inches. 

Purchased  February  20, 1917. 

47 


FLEMISH  SCHOOL,  late  Sixteenth  Century. 
(Formerly  catalogued  as  by  Battista  Dossi) 

116.  VENUS,  CERES,  BACCHUS  AND  CUPID 

Four  small  nude  figures.  In  the  center  Venus,  accom- 
panied by  Cupid.  On  the  left  Bacchus  reclines  under  a 
tree.  Ceres,  with  ears  of  corn  in  her  hair,  is  on  the  right 
grasping  fruit.  A city  and  the  sea  in  the  distance. 

The  inscription  on  the  step,  “Sine  Cerere  et  Baccho 
friget  Venus.  B.  Dossi  Ferrarense  (sic)  Pinxit,”  need  not 
be  seriously  discussed  in  this  connection.  The  first  six 
words  of  it  are  found  in  other  Flemish  pictures,  notably 
in  the  canvas  from  the  studio  of  Rubens  at  Cassel  (Max 
Rooses:  “Rubens,”  No.  699).  The  style  of  this  painting 
recalls  that  of  the  Pourbus  family  a generation  before 
Rubens. 

Purchased  January  8,  1904. 

FLEMISH  SCHOOL,  Seventeenth  Century. 
(Formerly  attributed  to  Gilles  van  Coninxloo) 

Two  kings,  each  accompanied  by  a large  retinue,  meet 
in  a forest  glade  and  embrace  in  the  center  of  the  com- 
position. Sheep  and  oxen  on  the  right.  A lake  in  the 
center  distance. 

30  inches  x 54  inches. 

Purchased  January  8,  1904. 


FLEMISH  SCHOOL,  Seventeeth  Century. 
(Formerly  attributed  to  Pieter  Codde  and  en- 
titled ‘‘A  Princess  Palatine”) 

117.  PORTRAIT  OF  A LADY 

Full  length.  In  a black  dress,  with  white  lace  collar, 
cuffs  and  sash;  holding  a fan  in  her  right  hand.  Curtain 
background. 

78]/^  inches  x 4634  inches. 

Purchased  April  17,  1899. 


48 


FLORENTINE  SCHOOL,  Early  Fifteenth  Cen- 
tury 

118.  THE  MADONNA  AND  CHILD 

The  Madonna  seated  on  a cushion  holds  the  Child  on 
her  left  arm.  Along  the  front  of  the  frame  are  diminutive 
figures  of  Christ  in  the  Tomb,  between  the  Magdalene 
and  St.  John;  with  St.  Francis  at  the  right  and  a martyr 
saint  (St.  Catherine.^)  at  the/ left. 

Wood,  arched,  393^  inches  x 263^  inches. 
Purchased  July  11,  1907. 


FRANCIA,  FRANCESCO  RAIBOLINI,  Called 
II  Francia 

Bolognese.  Born  in  Bologna  about  1450.  Died,  1517. 

He  began  his  career  as  a goldsmith,  but  in  1483,  when  Lorenzo  Costa 
settled  in  Bologna,  Raibolini  was  influenced  to  take  up  painting.  His 
earliest  works  resemble  closely  those  of  Costa,  but  he  finally  excelled  the 
latter  in  refinement  and  spiritual  significance. 

119.  THE  MADONNA  AND  CHILD  WITH  ST.  CATH- 
ARINE 

Half  length  figures.  The  Virgin  holds  the  Infant  before 
her.  St.  Catharine,  on  the  left,  rests  her  right  hand  on  her 
emblematic  wheel. 

Wood,  295^  inches  x 25J^  inches. 
Purchased  January  8,  1904. 


FRANCIA  FRANCESCO,  School  of 

[Jacopo  Boateri(?),  a pupil  of  Francia.  Born  in  Bologna  and  flourished  in  the  fifteenth 
century.] 

120.  MADONNA  AND  CHILD  WITH  ST.  PHILIP  (?) 

Half  length  figure  of  the  Virgin  behind  a parapet,  on 
which  stands  the  nude  Infant.  In  the  right  background 
the  Saint. 

Wood,  21^  inches  x 17%  inches. 
Purchased  September  28,  1907. 

49 


FROMENTIN,  EUGENE  SAMUEL  AUGUSTE 

French.  Born  in  La  Rochelle,  October  24,  1820.  Died  in  Paris,  August  27,  1876. 

Until  the  age  of  thirty-seven  he  was  known  only  as  a writer,  and  then 
his  acquaintance  with  the  landscape  painter,  Cabat,  brought  him  in 
touch  with  the  group  of  Romantic  painters,  Delacroix,  Marilhat  and 
Decamps,  who  sought  the  East  for  inspiration.  In  Algiers,  Fromentin 
found  the  color  and  the  light  which  he  craved,  and  in  the  Arab  horse- 
men, the  opportunity  for  brilliant  effect. 

121.  ARABS  ON  HORSEBACK 

Plate 

Arabs  ride  across  towards  the  right,  accompanied  by 
dogs. 

Signed. 

Wood,  93^  inches  x 16  inches. 

Wilstach  Bequest. 


FYT,  JAN 

Flemish.  Born  at  Antwerp,  March  15,  1611.  Died  in  that  city,  September  11,  1661 . 

A pupil  of  Frans  Snyders,  with  whom  he  collaborated  until  about 
1630,  he  enjoyed  great  renown  during  his  lifetime.  Among  the  old 
masters  few  were  his  equal  in  the  representation  of  various  species  of 
animals.  Realism  could  hardly  be  carried  further  than  in  his  paintings. 

122.  DEAD  GAME 

A dead  hare,  wild  boar,  fish  and  birds  on  a stone  table. 

Oval  frame,  inches  x 52^^  inches. 
Purchased  January  8,  1904. 

123.  FRUIT  AND  GAME 

Plate 

A dead  hare,  birds,  grapes  and  other  fruit  in  a basket 
on  a table;  a curtain  at  the  back. 

Signed  and  dated,  apparently,  1650. 

31  inches  x 3634  inches. 

Purchased  October  2,  1900. 

GAINSBOROUGH,  THOMAS 

English.  Born  in  Sudbury,  May,  1727.  Died  in  London,  August  2,  1788. 

Equally  famous  as  a painter  of  landscape  and  of  portraiture,  he  is 
placed  with  Reynolds  in  the  forefront  of  his  generation.  It  was  said  of 

50 


Arabs  on 


JAN  FYT 
Fruit  and  Gams 


him  during  his  lifetime  that  he  painted  portraits  for  money,  but  land- 
scapes for  pleasure.  He  lived  in  a period  when  landscape  painting  was  not 
appreciated,  hence  we  may  regard  Gainsborough’s  landscapes  as  expres- 
sions of  his  own  poetic  spirit. 

124.  LANDSCAPE:  REST  BY  THE  WAY 

Plate 

A man,  with  a dog,  lies  on  the  roadside  on  the  left; 
another  approaches  through  the  trees  from  the  left.  A 
pool  of  water  is  in  the  right  foreground  and  a road  with 
strongly  marked  ruts  runs  down  the  center.  A cow 
descends  the  road  and  passes  sheep,  which  are  on  the  bank 
on  the  left.  In  the  distance  a man  drives  asses  before  him. 

Signed  and  dated,  “Gainsbro,  1747.” 

393^2  inches  x 5734  inches. 

Purchased  November  16,  1895. 

This  one  of  the  very  earliest  of  Gainsborough’s  land- 
scapes, and  one  of  his  exceedingly  rare  signed  and  dated 
works,  was  painted  by  him  at  the  age  of  twenty.  It  thus 
naturally  shows  the  Dutch  influence  on  Gainsborough’s 
early  style. 

GARBER,  DANIEL 

American.  Born  in  North  Manchester,  Ind.,  April  11,  1880.  Contemporary. 

Lives  at  1819  Green  Street,  Philadelphia,  and  at  Lumberville,  Bucks 
County,  Pennsylvania.  Studied  in  the  Art  Academy  of  Cincinnati,  and 
at  the  Pennsylvania  Academy  of  Fine  Arts,  where  he  is  now  an  instructor. 
Daniel  Garber  belongs  to  “The  Delaware  Valley  School”  of  American 
landscape  painters,  most  of  whom,  W.  Lathrop,  John  Folinsbee,  Robert 
Spencer  and  R.  Sloan  Bredin,  live  in  or  near  New  Hope  and  Lumberville. 
Garber  paints  the  river  itself,  the  rolling  farm  lands  on  either  side,  the 
quarries,  the  wooded  hillsides  and  the  steep  ravines  of  this  intensely 
interesting  country.  He  loves  to  depict  the  fantastic  play  of  light  upon 
the  screen  of  trees  lining  a river  bank,  upon  variegated  fields,  or  upon 
rocky  precipices;  hence  he  loves  intricate  detail,  but  at  the  same  time  he 
envelopes  his  scenes  in  atmosphere,  a haze  or  an  evening  glow.  There  is, 
perhaps,  no  living  painter  who  combines  so  successfully  as  he  this 
descriptive  detail  with  breadth  of  vision. 

125.  ‘‘QUARRY-EVENING’^ 

The  Delaware  River  in  the  foreground;  on  the  opposite 
shore  a quarry,  the  hillside  above  covered  with  woods. 

Signed.  Painted,  1914. 

50  inches  x 60  inches. 


Purchased,  1921. 


61 


Exhibited  at  the  Corcoran  Gallery,  1915;  at  the 
Carnegie  Institute  International  Exhibition,  1916;  at 
the  Pennsylvania  Academy  of  Fine  Arts,  1920;  and  at  the 
Panama-Pacific  Exposition,  1914,  where  it  was  awarded  a 
gold  medal. 

GARRIDO,  LEANDRO  RAMON 

Spanish.  Born  in  Bayonne,  September  27,  1868.  Died  in  Grasse,  May  5,  1909. 

Garrido  studied  under  Delancey,  Moreau  and  Courtois  in  Paris,  but 
like  most  Spanish  artists  he  was  more  influenced  by  Franz  Hals  and 
Velazquez.  After  his  father’s  death  he  went  with  his  mother,  who  was 
English,  to  England,  and  from  there  he  made  at  least  two  visits  to 
America.  Here  his  exhibitions  were  most  successful;  he  became  noted 
for  his  pictures  of  laughing  girls;  in  fact,  “the  Garrido  laugh’’  is  what 
has  made  him  most  famous. 

126.  A GIRL  WITH  HER  DOG.  (“The  Treasure”) 

A girl  in  yellow-brown  dress,  seen  at  three-quarter 
length  and  turned  three-quarters  to  the  left,  holds  her 
dog  on  her  lap.  Neutral  background. 

Signed. 

27^  inches  x 213^^  inches. 
cf.  The  International  Studio,  1912,  p.  116.  “The  Con- 
noisseur,” Vol.  36,  1913,  p.  155. 

Purchased  August  11,  1904. 

GERICAULT,  JEAN  LOUIS  ANDRE 
THEODORE 

French.  Born  in  Rouen,  September  26,  1791.  Died  in  Paris,  January  17,  1824. 

Gericault  was  at  first  a pupil  of  the  classical  painter.  Carle  Vernet  and 
later  of  Guerin,  but  inspired  by  Rubens,  whose  works  at  the  Louvre  he 
studied  and  copied,  and  by  the  military  pictures  of  Baron  Gros,  he  shook 
off  the  bonds  of  classicism  and  became  the  forerunner  of  the  Romantic 
movement  in  French  art.  Gericault’s  early  pictures  were  those  of  horse- 
men and  horses,  and  although  later  he  painted  other  subjects  his  fame 
today  justly  rests  upon  his  animal  pictures. 

127.  THE  WOUNDED  SOLDIER 

Half  length  figure,  to  the  front,  his  head  bound  up  with 
a white  bandage. 

Signed.  28^  inches  x 23^  inches. 

Given  by  John  G.  Johnson,  Esq.,  November  5,  1912. 

52 


THOMAS  GAINSBOROUGH 
Landscape 


View  of  Dordrecht 


128.  HORSES 

The  morning  gallop  of  race  horses  on  the  downs  at  their 
training  place.  Cloudy  sky. 

125^  inches  x 16  inches. 

Purchased  May  8,  1912. 

GfiROME,  JEAN  LEON 

French,  Born  in  Vesoul,  May  11,  1824.  Died  in  Paris,  January  9,  1904. 

A pupil  of  Delaroche  he  early  applied  himself  to  the  study  of  Oriental 
life  and  character.  He  overlaid  a firm  grasp  of  his  subject  matter  with  a 
porcelain-like  finish  and  excessive  elaboration  of  detail  that  won  his 
transient  repute  among  collectors. 

129.  AN  ARAB  CHIEFTAIN 

Small,  full  length  figure,  standing;  a dog  by  his  side; 
a saddle  on  the  ground.  A tent  in  the  background. 
Signed.  Wood,  14  inches  x 10  inches. 

Wilstach  Bequest. 

GIORDANO,  LUCA 

Neapolitan.  Born  in  Naples,  1632,  Died  there  in  1705. 

Son  of  Antonio  Giordano  and  pupil  of  Giuseppe  Ribera,  called  Lo 
Spagnoletto,  and  later  of  Pietro  da  Cortona. 

At  an  early  age  he  had  acquired  a fertility  of  academic  invention, 
which,  coupled  with  the  exhortation  of  his  father  to  work  with  haste, 
“Luca  fa  presto”  (Luke,  make  haste!),  caused  him  to  be  so  designated. 
In  Spain,  where  he  arrived  in  1692,  he  painted  a prodigious  number  of 
pictures.  His  deplorable  facility  had  a fatal  influence  on  the  art  of 
his  followers. 

130.  ARCHIMEDES 

The  bearded  man,  whose  body  is  strongly  lit  from  the 
left,  is  measuring  with  compasses  the  circumference  of  a 
terrestrial  globe,  which  is  placed  on  a table  at  the  right. 

39^  inches  x 52J/^  inches. 

Purchased  January  8,  1904. 

The  famous  mathematician  and  inventor  of  the  endless 
screw  was  born  B.  C.  287. 

The  technique  of  this  picture  recalls  that  of  Ribera. 
Luca  delighted  to  produce  facsimiles  of  the  works  of 
Ribera,  which  were  very  popular.  Luca’s  “Allegory  of 
America”  is  in  the  Naples  Gallery,  No.  441.  An  “Archi- 
medes” by  him  is  in  the  Munich  Gallery,  No.  1255.  A 
picture  of  the  same  unusual  subject  by  Rubens  is  in  the 
Madrid  Gallery,  No.  1682. 


53 


GOYEN,  JAN  JOSEFSZ  VAN 

Dutch.  Born  in  Leiden,  January  13,  1596.  Died  in  The  Hague,  April,  1656. 

Pupil  of  Coenraet  van  Schilperoort,  Isaak  van  Swanenburgh,  William 
Gerritsz  and  of  Esaias  van  de  Velde,  this  last  master  having  the  most 
influence  upon  him. 

The  works  of  van  Goyen  are  among  the  most  prized  of  those  of  the 
Dntch  school,  for  their  spiritual  poetic  quality.  He  was  one  of  the  first 
(Brueghel  the  Elder  being  his  predecessor)  to  study  atmosphere  for  its 
own  sake  and  to  make  landscape  painting  independent  of  subject  interest. 


131.  LANDSCAPE  WITH  FIGURES  AND  CATTLE 

Cattle  in  a ferryboat  on  the  left.  A man,  with  a dog, 
walks  down  hill  on  the  right  from  a house,  near  which 
a number  of  figures  stand. 

Signed  with  the  monogram. 

Wood,  95^  inches  x 163^  inches. 
Purchased  January  8,  1904. 

132.  A MARINE  VIEW 

In  the  foreground  a man  is  fishing  in  a canal,  on  the 
far  side  of  which  are  other  men  in  boats,  with  houses  on 
the  bank  on  the  right. 

Signed  with  the  monogram. 

Wood,  9^  inches  x inches. 
Purchased  January  8,  1904. 


133.  VIEW  OF  DORDRECHT 

Plate 

Men  in  rowboats  and  sailing  vessels  on  the  river.  In 
the  center  distance  is  Dordrecht  Cathedral.  Other  build- 
ings and  a water  mill  on  the  left  near  by. 

Fully  signed  and  dated  1647. 

Purchased  February  28,  1896. 

134.  LANDSCAPE  WITH  FIGURES 


37  inches  x 57  inches. 


Two  men  are  seated  near  the  edge  of  a pond.  In  the 
center  is  a large  tree.  Three  men  are  near  a peasant’s 
cottage  towards  the  left. 

Signed  with  the  monogram  and  dated  1632. 

54J/8  inches  x 50 inches. 

Purchased  October  15,  1902. 

54 


GRANER  Y ARRUFI,  LOUIS 

Spanish.  Born  in  Barcelona,  February  5,  1863.  Contemporary. 

Influenced,  or  at  least  inspired,  by  Velasquez  and  Goya,  Graner  is  a 
painter  of  genre,  of  Catalan  life,  of  the  street  scenes  of  Barcelona.  He 
has  also  painted  in  New  Orleans.  He  lives  at  present  in  New  York. 

135.  THE  GAMESTERS 

In  an  ill-lit  room  workmen  are  smoking,  and  are  seated 
or  standing  around  a table,  playing  cards. 

Signed. 

I 315^  inches  x 4434  inches. 
Purchased  August  19,  1903. 


EL  GRECO,  Attributed  to  DOMENICO  THEO- 
TOCOPULI,  called 

Spanish.  Born  of  Greek  parentage  in  Crete,  between  1545-1550.  Died  in  Toledo, 
Spain,  April  7,  1614. 

Of  El  Greco’s  life  little  is  known.  His  youth  and  early  training  are 
obscure  save  for  the  fact  that  he  studied  for  a while  under  Titian.  Shortly 
before  1577,  he  came  to  Toledo  and  he  seems  to  have  remained  in  Spain 
until  his  death.  He  was  a rarely  original  genius.  At  a time  when  most 
painters  were  indulging  in  warm  glowing  tones,  he  preferred  cold  gray 
ones.  Few  painters  possessed  his  religious  fervor,  which  often  became 
the  expression  of  a mystical  asceticism. 

136.  CHRIST  ON  THE  CROSS 

On  the  ground,  at  the  foot  of  the  Cross,  are  a skull  and 
crossbones;  diminutive  horsemen  in  the  right  middle 
distance. 

81J4  inches  x 4034  inches. 

Purchased  October  25,  1900. 


GRAEB,  KARL  GEORG  ANTON 

German.  Born  in  Berlin,  1816.  Died  there,  1884. 

137.  MARKET  PLACE,  LEITMERITZ,  BOHEMIA 

Small  figures.  Cloudy  sky. 

Signed. 

27^  inches  x 20^  inches. 


Wilstach  Bequest. 


55 


GRYEFF,  ADRIAEN  DE 

Flemish.  Bora  at  Antwerp  about  1670.  Died  at  Brussels,  1715. 

Adriaen,  sometimes  miscalled  Anton,  Gryeff  painted  still-life  as  well 
as  landscapes  with  dead  game  and  the  accessories  of  the  chase.  He  seems 
to  have  studied  under  Frans  Snyders  {q.  v.). 

138.  DEAD  GAME 

24  inches  x 29  inches. 

Purchased  May  10,  1904. 


GUDE,  HANS  FREDRIK 

Norwegian.  Born  in  Christiania,  March  13,  1825.  Died  in  Berlin,  August  17,  1903. 

In  1841,  Gude  came  to  Dtisseldorf  to  study  and  became  influenced  by 
Andreas  Achenbach,  a realistic  painter  of  Norwegian  scenes.  Gude  like- 
wise became  noted  for  his  mountain  scenery. 


139.  NORWEGIAN  SUNSET 


View  from  a high  bank  of  a distant  river  at  sunset. 


Signed  and  dated  1851. 
Wilstach  Bequest. 


31  inches  x 46}^  inches. 


GUERCINO,  GIOVANNI  FRANCESCO  BAR- 
BIERI,  Called  Guercino 

Bolognese.  Born  in  Cento,  near  Ferrara,  1591.  Died  at  Bologna,  1661. 

First  influenced  by  Caravaggio,  and  later,  after  visits  to  Bologna, 
Venice,  Ferrara  and  Rome,  by  the  eclectic  followers  of  Raphael,  and 
finally  by  Guido  Reni  of  Bologna.  Yet  he  is  characteristically  Bolognese 
and  the  “disciple  of  his  own  genius.”  He  once  enjoyed  a renown  that 
ioday  does  not  attach  to  his  canvases.  His  execution  was  facile  and  his 
drawing  often  correct. 

140.  ST.  JOSEPH 

Three-quarter  length,  to  the  front,  in  a yellow  robe  and 
purple  mantle,  leaning  his  left  arm  on  a pedestal,  with  the 
staff  against  his  right  side. 

43J^  inches  x 33^  inches. 

Purchased  January  8,  1904. 

56 


GUILLAUMET,  GUSTAVE  ACHILLE 

French.  Born,  March  23,  1840,  in  Paris.  Died  there,  March  14,  1887, 

Guillaumet  was  the  last  of  the  group  of  French  romanticists  to  seek  the 
East  for  inspiration.  But,  unlike  Decamps  and  Fromentin,  he  sought  in 
the  East  not  what  was  brilliant  and  pictorial  in  sparkling  jewels  and 
bright  costume,  but  the  silence,  the  mesmeric  spell  of  the  East,  the  vast- 
ness of  the  infinite  horizon,  the  imposing  majesty  of  the  desert  and  the 
sublime  and  profound  peace  of  the  nights  in  Africa.  These  are  just  what 
we  find  in  our  picture. 

141.  THE  DESERT  AT  SUNSET 

Numerous  figures,  with  sheep  and  dog,  are  seen  before 
two  large  tents  in  the  desert  towards  sunset. 

Signed. 

363^  inches  x 543^2  inches. 

Given  by  John  G.  Johnson,  Esq.,  October  13,  1905. 


HAMILTON,  JAMES  P.  A. 

American.  Born  in  Ireland,  1819.  Died  in  Philadelphia,  1878. 

142.  MOONLIGHT  AT  SEA 


A ship  sailing  in  calm  water  by  moonlight. 


Signed  and  dated  1862. 
Wilstach  Bequest. 


28  inches  x 41  inches. 


HARRISON,  THOMAS  ALEXANDER 

American.  Born  in  Philadelphia,  January  17,  1853. 

After  studying  in  San  Francisco  and  Philadelphia,  Alexander  Harrison 
worked  in  Paris,  where  he  was  influenced  by  Besnard  and  Cazin,  as  well 
as  by  the  Impressionists.  He  became  one  of  the  first  American  painters 
of  light  and  evanescent  effects.  His  picture  called  “The  Wave”  was  the 
first  of  its  kind,  and  since  he  has  become  chiefly  noted  for  his  faithful  and 
luminous  studies  of  the  sea. 

143.  MARINE 

The  waves  lit  with  the  sun;  a sailing  ship  on  the  horizon. 
Signed. 

373^  inches  x 653^8  inches. 
Gift  of  John  G.  Johnson,  Esq.,  March,  1906. 

57 


144.  A FESTIVAL  NIGHT 

Beneath  trees  in  the  evening.  Many  green  and  some 
red  Chinese  lanterns  hanging  in  the  trees. 

Signed. 

36)4  inches  x 55  inches. 
Gift  of  Wm.  L.  Elkins,  Esq.,  April  1,  1902. 

145.  EAST  HAMPTON 

Winter  view  with  a rutty  country  road  running  down 
to  the  shore. 

Signed.  28  inches  x 36)4  inches. 

Gift  of  John  G.  Johnson  Esq.,  January,  1904. 

146.  BOYS  BATHING 

Two  boys,  nude,  their  backs  to  us,  stand  on  the  bank, 
about  to  enter  the  water;  in  the  right  distance  is  a punt. 

3934  inches  x 6334  inches. 
Gift  of  John  G.  Johnson,  Esq.,  October,  1907. 

147.  LE  GRAND  MIROIR 

A vast  expanse  of  water,  with  reflections. 

Signed. 

47  inches  x 98  inches. 
Exhibited  at  the  Pennsylvania  Academy  of  Fine  Arts, 
1896. 

Purchased  November  5,  1897. 

HELLEU,  PAUL  CESAR 

French.  Born,  1859. 


148.  AT  VERSAILLES 

In  one  of  the  allees  of  the  Parc  at  Versailles.  In  the 
foreground  under  the  trees  in  autumn  are  statues,  one  of 
which  is  of  Diana  the  Huntress.  On  the  right,  on  the 
other  side  of  the  path,  are  shrubs. 

Signed. 

4934  inches  x 49)4  inches. 

Purchased  August  12,  1897. 

58 


HELST,  BARTHOLOMEUS  VAN  DER 

Dutch.  Born  in  Haarlem,  1613.  Buried  in  Amsterdam,  December  16,  1670. 

As  a pupil  of  Nicholas  Eliasz  of  Amsterdam,  van  der  Heist  was  inspired 
to  paint  large  group  portraits.  He  was  also  influenced  somewhat  by 
Rembrandt  and  by  Franz  Hals,  but  he  never  achieved  the  power  of 
synthesis  and  the  unity  of  either  of  these  two  great  masters.  Never- 
theless, van  der  Heist  is  highly  esteemed  for  his  portraits  and  large  civic 
groups,  which  are  highly  realistic. 

149.  PORTRAIT  OF  A LADY  AND  GENTLEMAN 

Full  length  figures.  They  are  seated  in  the  open,  under 
trees.  He,  on  the  left,  wears  a red  coat;  she  on  the  other 
side  in  white.  He  clasps  her  by  the  hand.  A dog  is 
behind  his  feet. 

623^  inches  x 463^  inches. 

Purchased  August  23,  1904. 

Probably  the  picture  sold  at  Christie’s,  May  3,  1902, 
No.  74,  with  this  attribution.  As  a composition  this  recalls 
the  Portrait  of  a Man  and  His  Wife,  with  a Dog,  in  the 
Buda  Pesth  Gallery,  No.  401. 

HELST,  LODEWYK  VAN  DER 

Dutch.  Born  about  1645,  in  Amsterdam.  Died  there  about  1680. 

Son  and  pupil  of  Bartholomeus  van  der  Heist,  he  practiced  at  Amster- 
dam. His  works  are  rarely  met  with  and  do  not  seem  to  have  been  of 
high  importance. 

150.  A PORTRAIT  GROUP.  Deacons  of  the  Guild  of 

the  Last  Supper 

Nine  full  length  figures  of  men,  mostly  middle-aged,  in 
black,  with  flat  white  collars.  They  kneel,  half  on  either 
side,  with  a monstrance  containing  the  Host  in  the  center. 
Immediately  beneath  it  is  the  inscription,  LOF  SY  T 
HEYLICH  SACRAMENT  (Praise  be  to  the  Holy  Sacra- 
ment). Below,  is  a four-lined  inscription  in  Dutch  on  a 
parchment : 

Geen  wiin,  off  Ipocras,  noch  Terwe-graen  en  Liet 
0ns  Goodt  int  Avontmael,  maer  ’T  Broot  (Door  ’T  Woord 
herdreven) 

Wordt  Vleesch,  de  Wiin  wordt  Bloet:  daer  en  Bleef 
anders  niet, 

Als  Godt,  wiens  Vleesch,  en  Bloet  ous  daeghliick  Wordt 
gegeven. 


59 


Neither  wine,  nor  Ipocras,  nor  the  grain  of  wheat  and 
barley 

Is  God  for  us  in  the  Last  Supper,  but  bread  (transformed 
through  the  Word) 

Becomes  Flesh,  Wine  becomes  blood;  there  it  remains, 
nothing  else 

Than  God,  whose  Flesh  and  Blood  is  given  to  us  daily. 

Again  below,  and  in  the  center,  is  the  date  1673,  together 
with  the  names  of  the  deacons,  “Pieter  Willemans,  Joan 
de  Haegh,  Carel  der  Huych,  and  Cornelis  Peeters.” 

713^  inches  x 79J4  inches. 
Given  by  John  G.  Johnson,  Esq.,  June  14,  1904. 


HETZEL,  GEORGE 

American.  Born  in  Alsace,  1826.  Studied  at  DUsseldorf;  lived  later  at  Pittsburgh, 
Pa. 


151.  A SHADY  BROOK 

The  bed  of  the  stream  in  summer.  Trees  on  either  side. 
Painted  in  1867. 

20  inches  x 30  inches. 

Original  Wilstach  Bequest. 


152. 


LAKE  DUCKS 


Dead  wild  ducks  lying  on  reeds  at  the  edge  of  a pond. 
Signed  and  dated  1864. 

38  inches  x 30  inches. 


Wilstach  Bequest. 


HOOCH,  PIETER  DE 

Dutch.  Born  at  Rotterdam,  1629  or  1630.  Died  at  Amsterdam  about  1677. 

Influenced  by  Rembrandt,  Carel  Fabritius  and  Jan  Vermeer  of  Delft, 
he  worked  at  Delft  from  1655  to  1656  and  before  1668,  settled  at  Amster- 
dam. As  a painter  of  interiors  and  of  the  brilliant  effects  of  light  coupled 
with  admirable  color  and  ingenuity  of  composition,  he  is  rated  extremely 
high  for  the  works  of  his  best  period.  At  the  end  of  his  life  his  art  fell 
off  very  rapidly,  his  interiors  became  dull  in  tone  and  lacking  in  atmos- 
phere. 


60 


153.  AN  INTERIOR  WITH  FIGURES 

Six  small  figures.  Near  a window  on  the  left  a young 
woman  is  seated,  while  a young  man  bends  over  her  and  is 
about  to  kiss  her;  a spaniel  is  jumping  against  her  knee. 
In  the  center  a lady,  in  a white  satin  dress,  stands,  with 
her  back  to  us.  Another,  dressed  in  red,  is  seated  on 
the  edge  of  a table  and  plays  a guitar  as  she  regards 
a young  officer  who,  holding  his  hat  in  his  left  hand 
and  raising  a glass  in  his  right,  stands  near  her.  A man 
servant,  with  fruit  on  a dish,  approaches  from  the  right 
distance.  Near  the  tent  bed  in  the  background  hangs  a 
chandelier. 

32  inches  x 39  inches. 

Formerly  in  the  collection  of  Sir  Charles  Robinson, 
London. 

“Oud  Holland,”  1892,  Vol.  X,  p.  184,  No.  51. 

Sedelmeyer’s  “Catalogue  of  300  Paintings,”  1898,  No. 
71,  and  said  to  be  signed  and  dated  1653. 

In  the  collection  of  Rodman  Wanamaker,  Philadelphia, 
and  No.  22  in  E.  C.  Siter’s  Catalogue  of  that  collection, 
1904. 

H.  de  Groot:  “Catalogue  Raisonne,”  1908,  Vol.  I, 
p.  531,  No.  197.  It  is  there  pointed  out  that  this  picture 
is  signed  in  full  on  the  left,  and  dated  1675  (not  1653,  as 
Sedelmeyer’s  catalogue  erroneously  states).  It  is  thus 
probably  one  of  the  latest  works  of  the  master. 

Purchased  November,’ 1912. 

HOGUET,  CHARLES 

French.  Born,  1821,  in  Berlin,  of  French  parents;  studied  under  Wilhelm  Krause 
1839,  and  later  under  Isabey  in  Paris.  hVom  1848  he  lived  in  Berlin  where  he  died,  1870. 

154.  INTERIOR  OF  A GERMAN  COTTAGE 

A peasant  woman  is  preparing  a meal  over  a large 
earthen  vessel  in  front  of  a hearth.  A cauldron  is  hanging 
over  the  fire.  Alongside  the  woman  is  a white  cat,  and 
behind  her  are  vegetables  and  other  objects. 

6J^  inches  x 93^2  inches. 


Wilstach  Bequest. 


61 


HONDECOETER,  MELCHIOR  DE 

Dutch.  Born  at  Utrecht,  1636.  Died  at  Amsterdam,  April  3,  1695. 

He  belonged  to  a distinguished  family  of  painters.  His  father,  Gys- 
bert  d’Hondekoeter,  was  a painter  of  water  fowl  and  landscape,  and  his 
grandfather,  Gilles,  was  a landscape  painter.  Melchior  was  also  the 
nephew  of  Jan  Baptist  Weenicx  (g.  ».),  a master  in  the  painting  of  dead 
game.  Thus,  with  such  an  inheritance,  he  became  the  greatest  painter  of 
live  fowl  and  birds  of  gay  plumage.  With  these  materials  he  produced 
compositions  which  for  magnificence  have  never  been  rivaled.  He  has 
been  called  “the  Raphael  of  birds.” 

155.  THE  POULTRY  YARD 

Plate 

A peacock,  chickens  and  ducks  in  the  foreground. 
Flowers  in  a vase  on  the  wall  in  the  center.  An  open  vista 
leads  past  a house  and  a fountain  towards  a distant  villa. 
Two  wild  ducks  flying  over. 

83 inches  x 109  inches. 

Purchased  November  30,  1896 

156.  STILL-LIFE 

Dead  birds  on  a green  cloth  placed  upon  a stone  table. 
A basket  in  the  right  background. 

27%  inches  x 31%  inches. 

Purchased  October  15,  1902. 


HONTHORST,  GERARD  VAN 

Dutch.  Born,  November  4,  1590,  at  Utrecht,  where  he  died  April  27,  1656. 

A pupil  of  Abraham  Bloemart  of  Utrecht,  but  his  style  is  based  more 
on  that  of  Caravaggio.  In  Italy  he  acquired  the  name  of  “Gerardo  dalle 
Notti”  from  painting  night  scenes.  His  academic  success  outshone  his 
real  worth  as  an  artist. 

157.  LOT  AND  HIS  DAUGHTERS 

Lot,  bearded  and  aged,  is  seated  with  one  of  his  daugh- 
ters by  his  side.  With  his  right  hand  he  holds  out  a bowl 
to  the  other  daughter  who  pours  wine  into  it. 

58  inches  x 68%  inches. 

Purchased  August  23,  1904. 

62 


MELCHIOR  D’HONDEKOETER 
The  Poultry  Yard 


GEORGE  INNESS 

Short  Cut,  Watchung  Station,  N.  J. 


HOW,  BEATRICE 

English.  Contemporary. 

158.  MOTHER  AND  CHILD 

Half  length;  the  mother  wears  a yellow  bodice,  and  her 
babe,  dressed  in  white,  lies  on  her  lap. 

Signed  and  dated  1914. 

343^  inches  x 36  inches. 

Purchased  January  27,  1917. 

HUBBELL,  HENRY  SALEM 

American.  Born  in  Paola,  Kans.,  December  25,  1870. 

A pupil  of  Whistler,  Collin,  Laurens  and  of  Constant  in  Paris.  He  is 
the  director  of  the  School  of  Painting  and  Decoration,  Carnegie  Institute, 
Pittsburgh,  Pa. 

159.  THE  COPPERS 

A woman  polishing  copper  vessels  placed  on  a table  in 
the  foreground. 

Signed. 

32J^  inches  x 23^  inches. 

Purchased  August  11,  1904. 

HUMPHREYS- JOHNSON,  JOHN 

American.  Contemporary.  Born  1857. 

160.  EL'MAMADOR 

Half  length  figure  of  a dark  Spanish  youth  dressed  in  a 
green  suit  and  pink  shirt  and  standing  against  a paneled 
background. 

23  inches  a 25  inches. 

Purchased  March  4,  1896. 

INNESS,  GEORGE,  N.  A. 

American.  Born  at  Newburg  on  the  Hudson  River,  May  1,  1825.  Died  at 1894. 

A painter,  practically  self-taught,  who  worked  at  first  in  the  detailed 
manner  of  “The  Hudson  River  School,”  but  after  his  visit  to  France,  in 
1871,  he  fell  under  the  spell  of  the  Barbizon  school  and  thus  gradually 
broadened  his  style.  Poetic  and  philosophic  by  nature,  Inness  made  his 

63 


landscapes  expressive  of  his  own  deep  emotions.  He  is  justly  called  the 
first  great  American  landscape  painter.  It  is  said,  “He  never  sought  new 
ways  to  paint,  but  ever  strove  to  render  nature,  fields  and  sky,  trees, 
mountain-peaks,  streams  and  valleys,  and  the  pranks  that  light  and  shade 
played  upon  her;  and  sometimes  storms  and  the  sun.” 

161.  A SHORT  CUT,  WATCHUNG  STATION,  N.  J. 

Plate 

A farmer  is  crossing  a footbridge;  other  figures  in  the 
field.  A railroad  train  in  the  distance,  with  a church 
beyond  in  the  right  distance. 

Signed  and  dated  1883. 

37  inches  x 283^  inches. 

Purchased  February  15,  1895. 


ISABEY,  EUGENE  LOUIS  GABRIEL 

French.  Born  in  Paris,  July  22,  1803.  Died  in  Paris,  April  27,  1886. 

Son  and  pupil  of  the  miniaturist,  Jean  Baptiste  Isabey.  As  early  as 
1824,  he  exhibited  seascapes  and  landscapes  at  the  Salon,  and  as  the 
years  advanced  he  produced  a large  number  of  pictures,  so  that  he  is  well 
represented  in  the  museums  of  France  by  works  of  romantic  genre. 

162.  A SEACOAST  TOWN  IN  FRANCE 

Boatmen  on  the  river  bank  near  a two-arched  bridge 
in  the  center  of  the  town.  Numerous  figures,  tall  build- 
ings, and  a church  tower. 

Signed  and  dated  1855. 

473^4  inches  x 693^  inches. 

Given  by  John  G.  Johnson,  Esq.,  November  5,  1912. 

163.  THE  PRISONERS 

A large  number  of  prisoners  are  being  escorted  through 
the  village  by  mounted  soldiers.  Houses  and  tall  build- 
ings beyond. 

Signed. 

24  inches  x 36  inches. 

Given  by  John  G.  Johnson,  Esq.,  October  24,  1905. 

64 


ITALIAN  SCHOOL,  Late  Fifteenth  Century, 
UMBRIAN  (?) 

164.  MADONNA  AND  CHILD 

The  Virgin  holds  the  Infant  by  her  left  side;  stamped 
gold  background. 

Wood,  lS]/s  inches  x 13}^  inches. 

In  some  respects  this  picture  recalls  the  manner  of 
Pintoricchio.  (1454-1513.)  , 

Purchased  January  8,  1904. 


ITALIAN  SCHOOL,  Fifteenth  Century(?) 

165.  THE  VISITATION 

The  Virgin  in  red  tunic  and  blue  mantle  on  the  left; 
on  the  other  side  is  St.  Elizabeth  who  embraces  her. 

Wood,  34 3/^  inches  x 26}^  inches. 
Given  by  John  G.  Johnson,  Esq.,  July  23,  1907. 


ITALIAN  SCHOOL,  Fifteenth  Century 

166.  FIVE  SAINTS  (A  Polyptych) 

Full  length,  small  figures  of  (1)  Simon  the  Apostle,  with 
a saw;  (2)  St.  John  the  Evangelist,  with  the  chalice  and 
serpent;  (3)  St.  Michael(.^)  with  left  hand  on  sword  and, 
very  strangely,  a palm  branch  in  the  right;  (4)  another 
knightly  Saint  and  (5)  a Saint-Bishop.  The  disposition 
and  emblems  of  the  figures  present  difficulties. 

Wood.  Center  panels,  46}^  inches  x 20)^  inches; 
each  side  panel,  42^  inches  x 20  inches,  each  panel  arched 
and  cusped. 

Purchased  July  11,  1907. 


65 


ITALIAN  SCHOOL,  Fourteenth  Century 

167.  THE  VISITATION 

In  a narrow  street,  bounded  on  either  side  and  at  the 
far  end  by  tall  Italian  buildings,  the  Virgin  greets  St. 
Elizabeth,  who  kneels  before  her. 

The  inscription  along  the  front  not  wholly  decipherable. 

Wood,  36^  inches  x 273^  inches. 
Purchased  January  8,  1904. 

JACQUE,  CHARLES  EMILE 

French.  Born  in  Paris,  May  23,  1813.  Died,  1894. 

He  began  his  artistic  career  as  an  engraver,  but  after  working  in 
Belgium  and  England  settled  down  at  Barbizon.  He  there  painted  nu- 
merous pictures  of  sheep  which  have  made  him  famous,  although  it  has  at 
times  been  held  that  his  sheep  are  “too  conventional,  like  the  oak  trees  of 
Rousseau.” 

168.  LANDSCAPE  WITH  SHEEP  GRAZING 

Sheep  seen  on  a rough  hillside,  the  shepherdess  and  her 
dog  near  by. 

Wood,  63^  inches  x 93^2  inches. 

Wilstach  Bequest. 

JOHNSON.  See  Humphreys- Johnson 
JORDAENS,  JAN 

Dutch.  Born  at  Delft,  1616.  Died  near  The  Hague,  1681. 

Painter  of  landscape,  history  and  marine  subjects,  he  traveled  in 
Italy.  He  is  distinguished  from  others  of  his  name  as  Jan  Jordaens  IV, 
and  by  the  nickname  of  “Pollepel”  (potladle). 

169.  CIRCE  AND  ULYSSES 

The  two  principal  figures,  Circe,  in  white,  on  the  left, 
and  Ulysses,  in  armor,  on  the  right,  stand  on  high  ground 
at  the  back  with  their  hands  uplifted;  on  the  left  are  two 
cows.  Lower  and  in  the  foreground  are  several  half-nude 
men  in  a boat;  cattle  in  the  left  foreground. 

53  inches  x 803^8  inches. 

Purchased  August  23,  1906. 

66 


KONINCK,  PHILIPS  DE 

Dutch,  Born  in  Amsterdam,  November  5,  1619,  where  he  was  buried,  October  4, 
1688. 

Son  of  the  jeweler,  Aert  de  Koninck;  brother  and  pupil  of  the  painter, 
Jacob  de  Koninck;  cousin  of  Salomon  and  uncle  of  Daniel  de  Koninck. 
A pupil  also  of  Rembrandt,  he  painted  portraits  and  seapieces,  but  is 
specially  known  for  his  views  of  wide-spreading  landscapes,  which  in  tone 
and  harmony  approach  some  of  Rembrandt’s. 

170.  VIEW  OF  THE  ELTERBERG  NEAR  KLEEF 

'Plate 

A man,  a horse  and  cart,  cattle  and  dogs  pass  towards 
the  right  along  a country  road  on  high  ground  on  the  right. 
Below,  across  the  flat  country,  is  a wandering  river,  with 
a small  town  on  a spit  of  land.  Watery  landscape  beyond, 
with  hills  on  the  left.  In  the  right  distance  a hill  juts  out 
dominating  the  scene. 

38  inches  x 48^  inches 

Purchased  August  13,  1901. 

This  picture  recalls  the  “Commencement  of  the  Storm,” 
in  the  Wantage  collection,  with  its  placid  river  running 
across  the  composition  and  rain  breaking  over  the  flat- 
topped  hill  in  the  right  distance.  This  latter  canvas  has 
been  assigned  to  both  Rembrandt  and  this  artist  who 
painted  also  the  “Landscape”  of  a similar  character  in 
the  Duke  of  Westminster’s  collection.  Possibly  both  those 
pictures  and  the  present  one  were  painted  in  the  same 
neighborhood,  and  within  a range  of  five  miles  from  the 
present  viewpoint. 


LANSYER,  MAURICE  EMMANUEL 

French.  Born  at  L’lle  de  Bouin  (Vendee)  February  18,  1835.  Died,  November, 
1895. 

Pupil  of  Viollet-le-Duc,  the  architect,  Harpignies  and  Courbet. 

171.  LANDSCAPE 

A pool  of  water  in  the  center  recedes  towards  the  middle 
distance.  Trees  on  the  bank  on  the  right. 

21^  inches  x 313^  inches. 

Dated  1869. 

Given  by  John  G.  Johnson,  Ssq.,  October  19,  1907. 

67 


LATOUCHE,  GASTON 

French.  Born  at  Saint  Cloud,  1854.  Died  in  1913. 

Self-taught,  and  one  of  the  leading  members  of  the  Secessionists  in 
1890. 

172.  THE  LACQUERED  CHEST 

A bust  and  a vase  of  flowers  are  placed  on  the  chest, 
which  is  in  the  center.  A stool  in  the  right  foreground; 
a woman  seated  on  a white-backed  divan  in  the  left 
foreground. 

Signed.  Wood,  29%  inches  x 31%  inches. 

Purchased  September  6,  1902. 

LAURENS,  JEAN  PAUL 

French.  Born,  March  29,  1838,  in  Fourquevaux  near  Toulouse. 

Jean  Paul  Laurens  was  an  historical  painter,  preferring  forgotten 
themes  from  ecclesiastical  history.  He  was  particularly  successful  with 
scenes  of  horror,  with  which  the  Inquisition  supplied  him. 

173.  THE  VENGEANCE  OF  POPE  URBAN  VI 

The  Pope,  in  ample  blue  robe,  brocaded  with  gold,  and 
standing  on  the  right  in  the  vaulted  prison,  looks  down 
with  contempt  at  the  three  dead  cardinals  who  have  just 
been  hanged.  Their  cardinal’s  hats  are  on  the  ground. 
Four  small,  full  length  figures. 

Signed.  32%  inches  x 40%  inches. 

Given  by  John  G.  Johnson,  Esq.,  October  13,  1905. 

Urban  VI  (Bartolommeo  Prignani)  was  born  at  Naples 
in  1318,  and  became  Pope  in  1378.  But  the  cardinals 
revoked  his  election,  declaring  they  had  acted  under  fear 
of  violence.  In  September  of  the  same  year  they  elected 
Cardinal  Robert  of  Geneva,  who  called  himself  Clement 
VII  and  took  up  his  residence  at  Avignon,  Urban,  on  the 
other  hand,  remaining  in  Rome,  where  he  appointed 
twenty-six  new  cardinals  and  excommunicated  Clement 
and  his  adherents.  Thus  began  the  Great  Schism.  Later 
in  Genoa  Urban  put  several  of  his  own  cardinals  to  death 
for  suspected  disloyalty. 

Laurens  painted  also  such  kindred  subjects  as  “The 
Death  of  Pope  Martin  V,”  “Pope  Sixtus  IV  and  Torque- 
mada,”  and  “Pope  Pius  VII  and  Napoleon  I.” 

68 


PHILIPS  DE  KONINCK 
View  of  the  Elterberg,  near  Kleef 


SIR  THOMAS  LAWRENCE 
Portrait  of  King  George  IV 


LAVERY,  SIR  JOHN,  A.  R.  A. 

English.  Born  in  Belfast,  1856. 

He  studied  in  the  Glasgow,  London  and  Paris  schools,  but,  like  others 
of  the  Glasgow  school,  became  influenced  by  Whistler.  Lavery  is  a 
painter  of  English  and  Scottish  social  life. 


174.  A GARDEN  IN  FRANCE 

Three  young  ladies  seated  at  a table  under  the  trees. 
A garden  seat  on  the  left.' 


Signed. 

Purchased  May  5,  1899. 


44^  inches  x 57 inches. 


LAWRENCE,  SIR  THOMAS,  P.  R.  A. 

English.  Born  at  Bristol,  May  4,  1769.  Died  in  London,  January  30,  1830. 

Knighted  1815,  President  of  the  Royal  Academy  1820.  Precocious 
as  a child,  his  advance  in  academic  circles  was  unparalleled.  As  a 
draughtsman,  he  showed  conspicuous  ability  and  this  is  reflected  in  the 
fact  that  he  formed  an  important  collection  of  drawings  by  the  old 
masters.  His  later  pictures  are  apt  to  be  superficial  and  garish. 

175.  PORTRAIT  OF  GEORGE  IV 

Plate 

Full  length,  looking  three-quarters  to  the  left,  the  body 
to  the  front.  In  the  robes  of  the  Order  of  the  Garter. 
The  right  hand  touches  the  throne.  Curtain  background. 

Signed. 

7834  inches  x 49  inches. 

Purchased  January  8,  1904. 

Lawrence  painted  several  portraits  of  George  IV, 
notably  those  at  Windsor  Castle,  in  the  Wallace  Collec- 
tion and  in  the  Vatican.  In  certain  private  collections  in 
England  are  several  portraits  of  George  IV  that  at  least 
owe  their  origin  to  Lawrence’s  influence.  See  Armstrong: 
“Lawrence,”  pp.  133-134. 


69 


LE  GOUT  GERARD,  FERNAND  GARIE 
EUGENE 

French,  Born  at  St.  L6,  1876.  Contemporary. 

176.  WOMEN  OF  THE  ISLE  OF  SEIN,  BRITTANY 

Women  are  seated  on  the  left  on  the  quay;  more  to  the 
right  are  other  women  and  two  fishermen.  Sailing  vessels 
and  boats  in  the  right  distance,  with  houses  beyond. 
Sunset. 

Signed,  “F.  Le  Gout  Gerard,  He  de  Sein.” 

inches  x inches. 

Purchased  August  12,  1907. 

L’HERMITTE,  LfiON  AUGUSTIN 

French.  Born  in  Mont  St.  Pere,  near  Chateau-Thierry,  July  3,  1844.  Died 

Like  Bastien  Lepage,  and  most  of  the  French  painters  of  peasants, 
L’Hermitte  was  himself  the  son  of  a peasant.  He  worked  as  a boy  in  the 
fields,  and  as  did  also  Millet,  painted  the  things  which  he  had  done 
himself.  While  Bastien  Lepage  painted  the  peasants  with  tender  poetic 
sympathy,  L’Hermitte  portrayed  them  in  all  their  rusticity. 

177.  HARVESTERS  AT  REST 

Plate 

A peasant  woman  brings  the  midday  meal  to  two 
laborers  who  are  seated  on  the  ground  in  the  hay  field. 

Signed  and  dated  1894. 

29  inches  x 38}^  inches. 

Purchased  December  8,  1894. 

LEICKERT,  CHARLES  HENRI  JOSEPH 

Belgian.  Born  at  Brussels,  September  22,  1818.  Settled  at  Mainz,  where  he  died, 
December,  1907,  or  January,  1908, 

178.  COAST  SCENE  IN  HOLLAND 

Figures  on  the  roadside,  near  a tower;  shipping  in  the 
distance 

Signed  and  dated  1859. 

18  inches  x 24  inches. 

Wilstach  Bequest. 


70 


LEON  AUGUSTIN  L’HERMITTE 
Harvesters  at  Rest 


CORNELIS  LELIENBERGH 
Finches 


LELIENBERGH,  CORNELIS 

Dutch.  Flourished  from  1636,  when  he  was  inscribed  as  a member  of  the  Guild  of 
St.  Luke  at  The  Hague,  and  where  he  worked  until  1666.  He  was  still  living  in  1672. 

Lelienbergh  was  a superb  painter  of  still-life.  His  pictures,  usually 
small  and  simply  composed,  are  highly  prized.  This  is  due  in  part  to  his 
fine  draughtsmanship  and  delicate,  though  rich  coloring,  but  chiefly  to 
his  subtle  appreciation  of  texture.  Save  Weenicx,  perhaps,  no  painter 
has  excelled  him  in  the  study  of  little  birds. 

179.  FINCHES 

Plate 

Dead  finches  in  a recess,  one  hanging  from  a string  is 
attached  to  the  wall. 

Signed  and  dated  1654. 

Wood,  18%  inches  x 15%  inches. 

Purchased  October  15,  1902 

LE  NAIN,  LOUIS 

French.  Born  at  Laon,  15D3.  Died  in  Paris,  1648. 

Antoine,  Louis  and  Mathieu  Le  Nain  were  three  brothers  who  worked 
together.  It  is  difficult  to  separate  their  works,  as  Antoine  and  Louis 
collaborated  on  nearly  all  their  pictures.  They  are  particularly  interest- 
ing figures  in  French  art  because  of  the  Flemish  character  of  their  works. 
They  were  genre  painters,  reflecting  the  style  of  the  Dutch  and  Flemish 
“Little  Masters.” 

180.  THE  REPRIMAND 

On  the  far  side  of  the^table,  on  which  is  a basket  full  of 
fruit,  are  two  boys.  The  one  in  the  center  holds  a straw- 
covered  flagon  of  wine.  On  the  right  a little  girl,  dressed 
in  blue,  is  reprimanded  by  her  father. 

35%  inches  x 32%  inches. 

Purchased  October,  1913. 

An  examination  of  the  catalogue  of  the  exhibition  of 
their  works  at  the  Burlington  Fine  Arts  Club,  1910, 
suggests  that  this  picture,  the  existence  of  which  was 
unknown  to  the  cataloguers,  falls  into  Group  II  of  Le  Nain 
productions. 

Not  recognizable  from  any  description  given  in  Antony 
Valabregne’s  “Freres  Le  Nain,”  1904,  this  seems  to 
be  a hitherto  unknown  work,  and  as  such  one  of  some 
importance. 


71 


LEPAGE.  See  Bastien-Lepage 
LE  SIDANER,  HENRI  EUGENE 

Born  at  Port  Louis,  Mauritius,  in  1862,  of  a Breton  family.  Now  living  in  Versailles. 

181.  THE  HOUSE  OF  ROSES 

A house  built  of  stone  with  trailing  roses  in  full  bloom. 
Signed. 

32  inehes  x inches. 

Purchased  April  16,  1917. 

LESSARD.  See  De  Lessard 
LESSING,  KARL  FRIEDRICH 

German.  Born  in  Breslau,  February  15,  1808.  Died  in  Carlsruhe,  June  4,  1880. 

182.  LANDSCAPE  WITH  JESUIT  MONKS 

At  a turn  in  the  road  monks  are  sitting  by  the  wayside. 
One  is  talking  to  a workman;  another  to  a man  with  a 
cart  and  a contadino  further  away  in  the  center. 

Signed. 

45  inches  x 68  inches. 

Wilstach  Bequest. 

LEU,  AUGUST  WILHELM 

German.  Born,  March  24,  1819,  in  Munster,  Westphalia.  Died,  July  20,  1897,  in 
Seelisberg. 

Studied  in  Diisseldorf  and  traveled  in  Norway  and  Switzerland.  He 
is  known  as  a painter  of  mountain  scenery. 

183.  THE  MOUNTAIN  TORRENT 

Water  rushes  in  torrents  down  the  center;  a woman  and 
two  lumbermen  are  on  a bank  near  the  hut. 

Signed  and  dated  1869. 

48  inches  x 69  inches. 

Wilstach  Bequest. 

LEUTZE,  EMANUEL 

American.  Born  at  Gmiino  in  WUrtemberg,  May  24,  1816.  Died  in  Washington, 
July  18,  1868. 

An  historical  painter,  whose  pictures  are  American  in  subject  only. 
Leutze  was  really  a German  of  the  Diisseldorf  School. 

72 


184.  OLIVER  CROMWELL  AND  HIS  DAUGHTER 

Both  are  seated  at  the  side  of  a table. 

Signed  and  dated  1843. 

40  inches  x 24  inches. 

Wilstach  Bequest. 


LEYS,  JAN  AUGUST  HENDRIK,  BARON 

Belgian.  Born  in  Antwerp,  Februar;^  18, 1815.  Died  in  Antwerp,  August  26,  1869. 

Leys  is  a significant  figure  in  the  history  of  the  art  of  the  Low  Coun- 
tries, for  his  revival  of  the  spirit  of  the  Middle  Ages.  His  subjects  were 
historical  episodes  from  the  fifteenth  or  sixteenth  century,  or  mediaeval 
scenes  picturing  the  customs  of  his  own  country.  While  he  was  not 
always  successfully  realistic  in  these  scenes  and  may  be  accused  of 
savoring  too  much  of  the  academy,  yet  his  best  work  is  decorative  in 
the  extreme  and  he  is  to  be  admired  for  drawing  attention  once  again 
to  the  fine  craftsmanship  of  the  Middle  Ages. 

Alma  Tadema,  his  pupil,  in  his  early  work  continued  the  master’s 
style. 


185  THE  ORDER  OF  THE  GUARD 

An  officer,  in  an  armchair,  is  surrounded  by  soldiers  in  a 
guard  room.  A suit  of  armor  on  the  ground,  a drum, 
hat  and  sword  on  a stool.  In  the  right  background  are 
soldiers  playing  dice.  Further  back  a horse  is  tied. 

Signed  and  dated  1847. 

Wood,  21  inches  x 28  inches. 

Wilstach  Bequest. 


LOBRE,  MAURICE 

French.  Born  in  Bordeaux,  1862.  Contemporary. 

186.  THE  BOUDOIR  OF  MARIE  ANTOINETTE,  IN 
THE  PETIT  TRIANON,  VERSAILLES 

In  the  center  of  the  boudoir,  which  is  lit  from  the  left, 
is  the  table;  a chair  by  the  wall.  A biscuit  de  Sevres  bust 
of  Marie  Antoinette  on  the  mantelpiece. 

Signed  and  dated  1895. 

3434  inches  x 235^  inches. 

Purchased  August  18,  1896. 

73 


LONGHI,  PIETRO 

Venetian.  Born  and  died  in  Venice,  1702-1785. 

Popular  alike  in  appreciation  and  in  choice  of  subject,  he  may  be 
said  to  be  close  to  the  era  of  art  in  Italy,  where  he  has  been  referred  to  as 
the  “Goldoni  of  painters.” 

187.  THE  ENGAGEMENT  OF  A SINGER 

Plate 

Five  small,  full  length  figures.  The  master  of  the  house 
is  seated  in  the  left  foreground,  a dog  near  him.  A woman, 
dressed  in  yellow,  stands  by  the  musical  instrument,  on 
which  a cavalier  is  playing.  The  Professor  of  Music 
stands  on  the  other  side.  On  the  right  by  the  mantel- 
piece is  the  lady  of  the  house. 

21J/g  inches  x 28%  inches. 
Formerly  in  the  T.  Humphry  Ward  Collection. 
Purchased  September  30,  1916. 

LOO,  CARLE  VAN 

French.  Born  at  Nice,  1705.  Died  in  Paris,  1765. 

A member  of  the  distinguished  family  of  van  Loo,  the  son  of  Louis 
van  Loo,  who  was  born  in  Amsterdam  about  1641,  came  to  France  and 
died  at  Nice,  1713.  Louis  was  also  the  pupil  of  his  brother,  Jean  Bap- 
tiste, with  whom  he  went  to  Rome  to  study.  Both  painters  early  in  life 
had  conspicuous  success  as  portrait  painters,  although  they  also  painted 
religious  and  allegorical  scenes. 

188.  PORTRAIT  OF  AN  ABBE 

Half  length.  In  black,  with  lace  cuffs;  a wig.  The 
quill  pen  in  his  right  hand  rests  on  the  parapet.  Books  at 
the  back.  Papers  on  a chair  in  the  right  foreground. 
Architectural  setting. 

48%  inches  x 38%  inches. 

Purchased  January  8,  1904. 

LORIMER,  JOHN  HENRY,  R.  S.  A. 

Scottish.  Born  in  Edinburgh,  1856. 

189.  THE  ELEVENTH  HOUR,  “MARIAGE  DE  CON- 

VENANCES' 

An  interior;  a woman  in  her  wedding  dress  is  sitting 
on  a settee,  rather  agitated.  To  the  left  two  little  brides- 


74 


PIETRO  LONGHI 
The  Engagement  of  a Singer 


MACRINO  D’ALBA 

The  Madonna  and  Child  with  Saints 


maids  urge  her  to  bestir  herself;  another  little  girl  is 
already  outside  the  door. 

Signed. 

473^  inches  x 71  inches. 

Exhibited  at  the  Royal  Academy,  1894,  No.  104. 
Purchased  June  6,  1901. 

“Shows  grasp  of  dramatic  situation,”  J.  C.  Caw: 
“Scottish  Painting,”  1908,  p.  421. 


MacPHERSON,  CAMPBELL 

Scotch. 

190.  MAY  APPLES 

May  apples  in  a metal  vase,  placed,  with  a cup  and 
saucer,  on  a metal  tray. 

Signed. 

193^  inches  x 25%  inches. 

Purchased  January  27,  1917. 


MACRINO  D’ALBA  (Giangiacomo  Fava) 

Flourished  1470(?)-1528  (?). 

A north  Italian  painter,  who  came  under  the  reflected  influences  of 
Milan,  Umbria  and  Florence  at  the  finest  moment  of  their  several 
developments. 

191.  THE  MADONNA  AND  CHILD  WITH  SAINTS 
(A  Triptych) — Plate 

In  the  center  the  Enthroned  Virgin  holds  in  her  lap  the 
Infant,  whose  right  hand  is  raised  in  blessing.  In  the  left 
wing  stands  St.  John  the  Evangelist,  with  his  eagle;  and 
St.  James,  with  the  Pilgrim’s  staff,  places  his  right  hand 
on  the  shoulder  of  the  kneeling  Donor,  who  is  in  profile 
to  his  right,  with  his  cap  on  his  folded  hands.  On  the 
other  side  stand  St.  John  the  Baptist  with  his  lamb,  and  a 
Dominican  (St.  Thomas  Aquinas).  The  Donatrice 
wears  a red  skirt  and  yellow  brocaded  overmantle,  her 
yellow  cap  edged  with  pearls,  the  sleeves  slashed  with 
white. 


75 


Inscribed  on  the  cartel  in  front:  “Macrinus  Faciebat, 
1494  (?).” 

Wood,  arched,  each  panel,  54  inches  x 1834  inches. 

The  selection,  as  well  as  the  treatment  of  the  Saints, 
recalls  the  altarpiece  in  the  Turin  Gallery,  while  the  pose 
and  handling  of  the  Madonna  reminds  us  of  the  Triptych 
at  Frankfort-on-Main  which  is  signed  in  the  center: 
“Macrinus  Faciebat.” 

Purchased  September  25,  1900. 

MANET,  EDOUARD 

French.  Born  in  Paris,  1832.  Died  there,  April  30,  1883. 

After  six  years  of  study  under  Couture,  Manet  threw  over  the  aca- 
demic style  and,  disgusted,  traveled  in  search  of  a new  vision.  This  he 
found  in  Holland  and  Spain.  The  fluid  brush  work  of  Franz  Hals,  the 
cool  tones  of  Velasquez  and  the  realism  of  Goya  influenced  him  pro- 
foundly and  he  determined  to  inaugurate  in  modern  French  art  a new 
love  for  color  for  its  own  sake.  Later  he  became,  with  Monet,  a leader 
in  the  luminist  movement. 

192.  MARINE  VIEW  IN  HOLLAND 

Plate 

Four  sailboats  and  a steam  launch  on  a river.  Wind- 
mills in  the  distance. 

Signed. 

20  inches  x 24  inches. 

Purchased  1921,  from  the  collection  of  Alexander  J. 
Cassatt. 

MARATTI,  CARLO 

Roman.  Born  at  Camurano  in  the  March  of  Ancona  in  1625.  Died  in  Rome,  1713. 

He  was  a painter  who  definitely  attempted  the  style  of  Raphael, 
Guido  Reni  and  the  Carracci,  hence  he  must  be  reckoned  among  the 
eclectics  of  the  Roman  school.  He  was  very  much  the  vogue  during  a 
period  of  decadent  taste. 

193.  NOLI  ME  TANGERE 

Before  Christ,  on  the  left,  kneels  Mary  Magdalene,  with 
her  pot  of  ointment  on  the  ground.  Angels  in  the  sky. 

19  inches  x 25  inches. 

Purchased  January  28,  1904. 

76 


EDOUARD  MANET 
Marine 


MARCKE,  EMILE  VAN 

French,  Born  at  Sevres,  August  25,  1827.  Died  at  Hyeres,  December  24,  1890. 

Although  born  of  Dutch  parents,  he  must  be  reekoned  among  the 
French  animal  painters.  He  was  a pupil  of  Constant  Troyon. 

194.  SPANISH  OX  TEAM 

Two  Italian  peasants  are  driving  oxen,  which  draw 
carts,  along  a country  road.  A dog  in  the  right  fore- 
ground. In  the  distance  are  mountains. 

153^  inches  x 23^  inches. 

Wilstach  Bequest. 


MARIESCHI,  MICHELE 

Venetian.  Died,  1743. 

A successor  of  Canaletto  and  Belotto  as  a painter  of  Venetian  seenes. 

195.  THE  GRAND  CANAL,  VENICE 

A large  private  barge,  with  fashionable  people  on  board, 
moves  towards  the  left.  Gondolas  are  near  at  hand; 
buildings  on  either  side. 

2134  inches  x 3334  inches. 

Purchased  October  2,  1900. 


MARILHAT,  PROSPER 

French.  Born  in  Vertaizon,  March  20,  1811.  Died  in  Thiers,  September  13,  1847. 

He  entered  the  studio  of  Roqueplan  at  an  early  age.  Having  traveled 
long  in  Greece,  Egypt  and  the  East,  he  imparted  to  his  scenes  a sense  of 
full  chorded  southern  light. 

196.  ORIENTAL  LANDSCAPE 

Sandy  foreground,  with  trees  beyond,  on  the  outskirts 
of  a forest. 

34^  inches  x 4434  inches. 
Given  by  John  G.  Johnson,  Esq.,  October  13,  1905. 

77 


MARTIN,  W.  A.  K. 

American. 

197.  BRUCE  DEFENDING  THE  PASS  AT  DALREY 

The  contest  has  resolved  itself  into  a duel.  Other 
figures  in  the  background. 

Signed  and  dated  1853. 

29  inches  x 36  inches. 

Wilstach  Bequest. 


MASTER  OF  THE  DEATH  OF  THE  VIRGIN. 
See  Beke,  Joos  van  der.  Called  Joos  van 
Cleef 


MASTER  OF  THE  HOLY  BLOOD,  “Maitre  du 
Saint  Sang’’ 

This  rare  and  as  yet  unidentified  master  takes  his  present  descriptive 
name  from  the  “Deposition”  by  him  in  the  Confraternity  of  the  Holy 
Blood  at  Bruges.  By  the  same  hand  is  a work  in  the  Church  of  St. 
Jacques  in  the  same  city.  [The  “Master  of  the  Holy  Blood”  seems  to 
have  been  a Bruges  painter  working  under  the  influence  of  Quentin 
Matsys  after  1500.] 

198.  THE  PROCESSION  TO  CALVARY 

Christ  falls  beneath  the  weight  of  His  Cross.  He  is 
followed  by  an  executioner,  soldiers  and  three  officials 
mounted  on  horseback,  who  move  tow^ards  the  left.  In 
the  foreground  the  Virgin  faints  and  is  supported  by  the 
Magdalene  and  St.  John.  The  hill  of  Golgotha  and 
Jerusalem  in  the  background. 

Wood,  50^  inches  x 56^  inches. 

Purchased  March  8,  1913. 

Stylistic  considerations  prompt  reference  to  Fried- 
lander’s  illustrated  work  on  Flemish  Paintings  shown  at 
Bruges  in  1902  (plate  61).  [See  Friedlander’s  “Meister- 
werke,”  p.  22;  “Ausstellung  von  Kunst  des  Mittelalters 
und  Renaissance,”  Berlin,  1899,  p.  20.] 

78 


MAURER,  ALFRED  HENRY 

American.  Born  in  New  York,  April  21,  1868. 

A pupil  of  the  National  Academy  of  Design.  He  lives  in  New  York 
and  Paris. 

199.  PORTRAIT  OF  A LADY.  “The  Peacock” 

An  interior.  Small,  full  length  figure  of  a lady  looking 
at  herself  in  the  mirror  whieh  hangs  over  the  mantelpieee. 
Signed. 

/ 36  inches  x 32 inches. 

Purchased  August  19,  1903. 

MAX,  GABRIEL  CORNELIUS  VON 

Bohemian.  Born  in  Prague,  August  25,  1840. 

Max  has  been  called  “a  painter  of  disasters,”  because  of  his  passion  for 
martyrdoms  and  tragic  events.  What  seems  to  have  been  a morbid 
disposition  finally  led  him  to  depict  scenes  of  hypnotism  and  spiritualism. 

200.  THE  MARTYRDOM  OF  ST.  LUDMILLA 

Dressed  in  white  she  lies  dead  on  the  floor,  near  her  bed. 
The  black  scarf  with  which  she  was  strangled  still  hangs 
about  her  neck. 

Signed  and  dated  1864.  35  inches  x 39  inches. 

Wilstach  Bequest. 

St.  Ludmilla  of  Bohemia  was  strangled  with  her  veil, 
which  in  certain  representations  of  her  she  holds  in  her 
hand.  She  appears  in  the  well-known  fourteenth  cen- 
tury picture  by  Theodorich  of  Prague  in  the  Rudolphinum 
at  Prague,  No.  158. 

MEISSONIER,  JEAN  CHARLES 

French.  Born  1852.  Died  1917. 

Son  of  the  more  famous  artist,  Jean  Louis  Ernest  Meissonier  (1815- 
1891). 

201.  THE  REPAST 

A lady  in  white  satin  dress  and  light  blue  jacket  edged 
with  gray  fur  is  seated  at  table;  opposite  her  sits  a cavalier. 
Signed  and  dated  1866. 

29  inches  x 24  inches. 


Wilstach  Bequest. 


79 


MENARD,  EMILE  RENE 

French.  Born,  1862,  in  Paris.  Contemporary. 

Nephew  of  the  philosopher,  Louis  Menard.  Menard  is  a painter 
with  classical  tendencies  and  poetic  feeling. 

202.  THE  WOOD  NYMPHS 

Two  young  women  are  standing  at  the  edge  of  a lake 
which  is  bordered  by  pine  trees;  it  is  late  evening,  and 
the  setting  sun  lights  up  the  trunks  and  branches  of  the 
distant  trees. 

Signed  and  dated  1912. 

9534  inches  x 613^  inches. 

Purchased  August  30,  1916. 


MICHEL,  GEORGES 

French.  Born  in  Paris,  1793.  Died  in  Paris,  1843. 

His  was  an  adventurous  career,  but  his  pictures  were  unknown  to  the 
multitude.  He  usually  painted  “Ruisdael  subjects,”  which  he  set  in  the 
plain  from  Montmartre  to  St.  Denis,  on  the  north  side  of  Paris. 

203.  LANDSCAPE  AND  FIGURES 

A coach,  drawn  by  three  horses,  climbs  the  hill  out  of 
the  village.  In  the  distance  is  a town,  and  several  wind- 
mills. 

193^  inches  x 29 inches. 

Purchased  April  10,  1903. 


MICHETTI,  FRANCESCO  PAOLO 

Italian.  Born  in  Chieti,  1852  (?). 

A pupil  of  the  Neapolitan  Morelli,  and  noted  for  his  dazzling  effects. 

204.  THE  SERENADE 

Numerous  small  figures  grouped  on  high  ground 
overlooking  the  city  of  Franca  villa  al  Mare,  near  Ancona, 
with  a view  of  the  Adriatic  Sea  forming  the  background. 
In  the  center  Francesco  Paolo  Tosti,  the  celebrated 
Italian  composer  of  ballads,  leans  against  a tree  as  he 
plays  the  guitar  and  sings.  Behind  him  stands  Con- 
stantino Barbella,  the  sculptor  of  the  Abruzzi;  on  the 

80 


right,  apart  from  these  two,  is  the  poet,  Gabriele  d’Annun- 
zio.  Two  men  and  several  women,  friends  of  Michetti, 
are  in  a row  on  the  left;  behind  them,  and  more  to  the 
left,  is  a shepherd  boy. 

Signed  and  dated  1878. 

40  inches  x 87 ]/2  inches. 
Given  by  John  G.  Johnson,  Esq.,  August  8,  1900. 


MIEREVELD,  MICHIEL  JANSZOON  VAN 

Dutch.  Born  at  Delft,  May  1,  1567.  Died  there,  June  27,  1641. 

Miereveld  was  a prolific  painter  of  portraits,  highly  esteemed  in  his 
ouTi  day  and  patronized  by  the  Princes  of  Orange.  He  compromised 
his  own  reputation,  however,  by  permitting  his  students  to  make  copies 
of  his  pictures  and  other  portraits  bearing  his  signature.  Pupils  who 
thus  collaborated  with  him  were  Paulus  Moreelse,  Jan  van  Ravesteyn 
(also  represented  in  this  collection),  his  own  sons,  Pieter  and  Jan,  and 
his  son-in-law,  Willem  Jacobsz  Delff,  and  his  grandson,  Jacob  Delff. 

205.  PORTRAIT  OF  A MAN 

Half  length,  turned  to  the  right.  In  a black  coat,  and  a 
ruff.  The  right  hand  raised. 

Wood,  29  inches  x 2334  inches. 

Purchased  January  8,  1904. 


MILLET,  JEAN  FRANgOIS 

French.  Born,  October  14,  1814,  at>Gruchy  near  Cherbourg.  Died  at  Barbizon, 
January  20,  1875. 

He  was  the  son  of  Norman  peasants,  and  he  himself  preferred  to  live 
as  a peasant.  His  simplicity  influenced  his  art;  no  painter  devoted 
his  brush  more  sympathetically  or  more  conscientiously  to  the  struggles 
of  the  farm  laborer.  He  invested  his  humble  scenes  with  a sense  of 
monumental  grandeur.  With  Rousseau  he  was  one  of  the  founders  of 
the  Barbizon  school  ot  naturalistic  landscape  painters,  which  counted 
also  among  its  members  Dupre,  Diaz,  Daubigny  and  Corot,  all  repre- 
sented in  this  collection. 

206.  SOLITUDE 

Plate 

Snow  covers  the  ground  on  a wide  road,  with  high  banks 
on  either  side.  In  the  distance  is  a wall  with  tall  trees 
beyond  it. 

Signed. 


81 


3334  inches  x 4334  inches. 


Drawn  in  with  crayon,  partly  colored  in  pink  and  snow 
tones.  Unfinished.  Formerly  in  the  collection  of  Alex- 
ander Young,  in  London.  Exhibited  at  the  Guild  Hall, 
London,  1898,  No.  93. 

“One  of  the  most  important  works  in  the  Alexander 
Young  collection  was  the  ‘Solitude,’  by  Jean  Frangois 
Millet,  a large  and  imposing  landscape,  which  is  now  in 
the  Wilstach  Gallery,  Philadelphia.”  — International 
Studio,  1910,  Vol.  41,  p.  50. 

Purchased  December  19,  1906. 

MOERENHOUT,  JOSEPH  JODOCUS 

Belgian.  Born  at  Eeckeren  near  Antwerp,  May  3,  1801.  Died  at  Antwerp,  June  1, 
1874. 

He  was  a pupil  of  Horace  Vernet  and  painted  chiefly  horses  and 
winter  scenes. 

207.  RETURN  FROM  THE  CHASE 

Signed  and  dated  1854. 

21  inches  x 28  inches. 

Wilstach  Bequest. 


MOESLAGER,  C. 

208.  YOUTHFUL  VANITY 

A little  child  stands  on  an  armchair,  looking  at  herself 
in  the  mirror. 

Signed  and  dated  1861.  18  inches  x 15  inches. 

Wilstach  Bequest. 


MOLENAER,  JAN  MIENSE 

Dutch.  Born  between  1600  and  1610  at  Haarlem,  where  he  was  buried  September 
19,  1668. 

He  was  probably  a pupil  of  his  fellow-townsman,  Franz  Hals,  and 
certainly  was  influenced  by  him.  His  wife,  Judith  Leyster,  was  also  a 
painter  of  great  merit,  who  painted  in  the  style  of  Hals;  her  works  have 
often  been  mistaken  for  those  of  the  great  Haarlem  master.  Molenaer 
and  Judith  Leyster  naturally  collaborated.  From  1636-1647  Molenaer 
lived  in  Amsterdam,  where  he  was  influenced  by  Rembrandt,  and  at  this 
time  he  painted  his  best  works. 

The  painters,  Claes  and  Bartholomeus  Molenaer,  were  his  brothers. 

82 


209.  THE  DRUNKEN  PEDDLER 

Fifteen  small  figures  of  young  men  and  women,  with 
the  peddler  in  the  center;  a young  man  behind  him  is 
upsetting  his  basket  of  eggs.  People  are  looking  out  of  the 
windows  of  the  inn,  in  the  right  background,  which  shows 
the  sign  of  the  Stork.  Blue  sky. 

Wood,  24  inches  x 27^4  inches. 

Purchased  September  25,  1901. 


MONET,  CLAUDE  JEAN 

French.  Born  in  Paris,  November  14,  1840.  Died . 

Claude  Monet  was  the  leader  of  the  modern  Plein-Air  or  Impression- 
ist School.  “Beauty,”  said  Plotinus  two  thousand  years  ago,  “is  the 
light  that  plays  about  things,  and  does  not  consist  in  the  things  them- 
selves.” Basing  his  studies  upon  this  idea,  Monet  painted  and  finished 
his  pictures  out-of-doors,  not  in  the  studio.  As  this  method  implied 
quickness  of  execution,  recording  merely  the  effect  of  light,  shade  and 
color,  Monet  called  his  pictures  “Impressions.”  At  the  same  time  he 
developed  a new  technique,  qualified  for  quick  results,  which  has  been 
adopted  by  nearly  all  subsequent  painters. 


210.  MARINE  VIEW— SUNSET 

Reeds  in  the  foreground,  two  boats  on  the  river,  a town 
on  the  distant  shore,  and  a sunset  sky  reflected  in  the  water. 

Signed.  193^2  inches  x 253^  inches. 

Purchased  1921,  from  the  collection  of  Alexander  J.  Cassatt. 


211.  VIEW  OF  AMSTERDAM,  THE  WESTCHURCH 
TOWER 
Plate 

Canal  with  houses  and  trees,  the  church  in  the  middle 

inches  x 25^  inches. 

Purchased  1921,  from  the  collection  of  Alexander  J. 
Cassatt.  See  Pennsylvania  Museum  Bulletin,  October, 
1921. 


212.  VIEW  OUTSIDE  PARIS 

Numerous  figures  walking  in  the  fields.  In  the  distance 
the  city,  partly  hidden  by  trees. 

Signed.  133^  inches  x 283^  inches. 

Purchased  1921,  from  the  collection  of  Alexander  J. 
Cassatt. 


83 


MONTICELLI,  ADOLPHE 

French.  Born  of  Italian  parents,  October  14,  1824,  at  Marseilles,  where  he  died 
May  26,  1886. 

He  was  eccentric  as  a man.  His  pictures  reveal  a certain  bewildering 
brilliance  that  has  given  rise  to  their  comparison  with  the  carpets  of  the 
East,  so  obvious  is  the  sacrifice  of  draughtsmanship  to  glowing  color. 

213.  THE  BOATING  PARTY 

Seven  women  on  the  bank  in  the  foreground,  while 
others  are  putting  off  from  it  in  a punt.  Other  figures  in 
the  left  distance. 

Signed.  1834  inches  x 3034  inches. 

Purchased  October  29,  1897. 

MORAN,  EDWARD 

American.  Born  in  Bolton,  Lancashire,  England,  1829.  Died  in  New  York,  June 
10,  1901. 

He  was  a brother  of  the  animal  painter,  Peter  Moran,  and  of  the 
landscapist,  Thomas  Moran.  Edward  is  noted  for  his  marines  and  fish- 
ing scenes. 

214.  CASTLE  GARDEN,  NEW  YORK 

Figures  in  a rowboat  in  rough  water.  Much  shipping 
in  the  distance. 

Signed.  25  inches  x 46  inches. 

Wilstach  Bequest. 

MORAN,  THOMAS 

American.  Born  in  Bolton,  Lancashire,  England,  1837. 

215.  THE  FIRST  SHIP,  ST.  SALVADOR 

Indians,  standing  or  kneeling  on  the  cliffs,  are  looking 
at  a distant  vessel,  which  is  approaching  land. 

Signed  and  dated  1855. 

23  inches  x 46  inches. 

Wilstach  Bequest. 

MORONI,  GIOVANNI  BATTISTA 

Brescian.  Born  at  Bondio,  near  Albino,  in  the  Bergamese  territory,  about  1525. 
Died  at  Bergamo,  February  5,  1578. 

He  was  a pupil  of  Alessandro  Bonvicino  called  II  Moretto  of  Brescia. 
Like  his  master,  Moroni  achieved  his  chief  fame  as  a portrait  painter. 

84 


JEAN  FRANCOIS  MILLET 


View  of  Amsterdam,  the  Westchurch  Tower 


Even  Titian  pronounced  his  portraits  to  be  life-like  and  advised  the 
Bergamask,  instead  of  coming  to  Venice,  to  patronize  their  own  painters. 


216.  PORTRAIT  OF  AN  ECCLESIASTIC 

Full  length,  seated  in  an  armchair,  and  turned  three- 
quarters  to  the  left.  His  right  hand  is  extended  and 
touches  a book  on  the  table. 

48^  inches  x 39^  inches. 
Purchased  November  15,  1895. 

MORRICE,  JAMES  WILSON 

Canadian.  Born  in  Montreal,  August  14,  1864. 

An  exponent  of  the  Impressionist  school  and  best  known  as  a painter 
of  Breton  coast  scenes.  He  lives  in  Paris. 

217.  THE  SHORE  AT  PARAME 

A group  of  figures  by  the  steps  of  a bathing  pavilion 
in  the  left  foreground.  A child  on  the  seashore  in  the  right 
foreground.  Cloudy  sky. 

Signed.  23^  inches  x 28^  inches. 

Purchased  August  11,  1904. 

MUENIER,  JULES  ALEXIS 

French.  Born  at  Vesoul.  Contemporary. 

218.  THE  ENTRANCE  TO  THE  VILLAGE 

# 

We  look  down  to  the  lake  on  the  left.  The  road  rises 
on  the  right,  as  it  nears  a house.  Further  on  it  turns  and 
leads  up  to  other  buildings. 

Signed  and  dated  1901.  21%  inches  x 26  inches. 

Purchased  September  6,  1902. 

219.  HARVESTERS  AT  REST 

Two  harvesters  and  a woman  are  lying  against  a sheaf 
of  wheat  in  the  left  foreground.  Further  back,  on  the  side 
of  the  sloping  field,  are  shocks  of  wheat;  from  the  right 
approaches  a girl,  with  a basket  full  of  victuals;  a man 
raking  in  the  distance.  Hills  in  the  right  distance. 

35%  inches  x 48  inches. 

Purchased  April  16,  1917. 


85 


MUNKACSY,  MICHAEL  (Michael  Lieb) 

Hungarian.  Born  at  Munkacs,  October  10,  1846.  Died  at  Endenich,  May  1,  1900* 

Born  in  the  town  of  Munkacs,  he  assumed  the  cognomen  by  which  he 
is  known  to  the  exclusion  of  his  family  name  of  Lieb.  Long  the  victim  of 
failure,  in  spite  of  possessing  great  technical  power,  he  had  achieved 
complete  worldly  success  but  then,  as  a consequence  of  early  privation, 
he  lost  his  reason  and  died  in  profound  melancholy. 

220.  THE  LAST  DAY  OF  THE  CONDEMNED 

Plate 

Peasants  take  a final  farewell  in  prison  of  the  con- 
demned man  who,  under  the  guard  of  a soldier  with  fixed 
bayonet,  is  seated  alone  and  disconsolate  on  the  right. 

Signed  and  dated  1870. 

Wood,  54  inches  x 73^  inches. 

Wilstach  Bequest. 

“The  tide  of  Munkacsy’s  success  may  be  said  to  have 
set  in  when  his  picture,  ‘A  Condemned  Man  in  His  Cell,’ 
was  shown  at  the  Paris  Exhibition  of  1870.  It  proved  an 
immediate  success,  was  awarded  a prize,  and  was  sold  to 
an  American  for  a considerable  sum.  Munkacsy  was  then 
taken  in  hand  by  M.  Goupil,  and  fortune  was  assured. 
Since  then  the  artist’s  career  has  been  one  of  success 
following  on  success  until  the  unhappy  malady  which  came 
upon  him  withdrew  him  from  the  world.” — Introduction  to 
“Catalogue  of  Pictures  shown  at  the  Continental  Gallery, 
London.” 

1900.  Ilges:  “ Munkacsy  ” in  Kunstler  Monographien, 
p.  43,  plate  36. 

It  was  a Hungarian  custom  for  a prisoner  to  be  visited 
by  the  curious  and  by  those  who  wished  to  contribute 
towards  a mass  for  the  criminars  soul. 

“He  painted  portraits  for  a pittance  at  the  beginning 
of  his  professional  career.  His  picture,  ‘The  Last  Day  of  a 
Condemned  Prisoner,’  laid  the  foundation  for  his  fame; 
the  finishing  of  this  large  painting,  for  which  he  had  no 
money  to  go  on  with,  was  made  possible  by  the  munifi- 
cence of  a Philadelphia  gentleman  who  saw  the  beginning 
of  it  and  offered  to  buy  the  picture,  advancing  the  funds 
necessary  to  its  completion.” — E.  C.  Siter  “Catalogue  of 
Pictures  in  the  collection  of  John  Wanamaker,”  p.  103. 


86 


MICHAEL  DE  MUNKACSY 
The  Last  Day  of  the  Condemned 


\ 

\ 

( 

I 

\ 

\ 

I 


AERT  VAN  DER  NEER 
Landscape 


221 


HEAD  OF  A BOY 


Wilstach  Bequest. 


534  inches  x 634  inches. 


222.  HEAD  OF  A GIRL 


Wilstach  Bequest. 


5J4  inches  x 634  inches. 


MUNTHE,  GERHARD 

Norwegian.  Born  at  Skanshagen,  Norway,  July  17,  1849.  Died . 

223.  LANDSCAPE 

A ploughman,  with  two  white  horses,  in  a field  near  a 
stream;  trees  on  the  left. 

Signed. 

21  inches  x 3534  inches. 

Given  by  John  G.  Johnson,  Esq.,  October  19,  1907. 


MURILLO,  BARTOLOME  ESTEBAN 

Spanish.  Born  at  Seville,  the  last  of  December,  1617,  baptized,  January  1,  1618. 
Died  in  Seville,  1682. 

He  was  at  first  self-taught,  but  later  instructed  and  assisted  by  his 
fellow-townsman,  Velasquez.  He  was  also  greatly  influenced  by  Ribera 
and  by  Flemish  artists,  particularly  by  van  Dyck.  This  mingling  of 
influences  created  in  him  a varied  choice  of  subject,  which  was  extraor- 
dinary, considering  the  limitations  of  Spanish  art  and  life  in  his  day. 
A just  appreciation  of  his  ceuvre  demands  study.  Many  of  his  por- 
traits surpass  some  of  his  popular  religious  pictures. 

224.  CHRIST  BEARING  HIS  CROSS 

Christ  sinks  under  the  weight  of  the  cross,  as  He  moves 
towards  the  right  and  approaches  the  kneeling  Virgin. 
Jerusalem  in  the  left  background. 

60  inches  x 83  inches. 

Purchased  August  28,  1900. 

A picture  of  such  a subject,  but  of  which  the  measure- 
ments are  not  known,  was  in  the  Earl  of  Oxford’s  sale  in 
1856. 


87 


225.  ST.  ANTHONY  OF  PADUA 

Full  length  figure  of  the  Saint,  kneeling  towards  the 
left,  before  an  open  book,  a skull  and  lily.  He  holds  a 
crucifix  in  his  right  hand. 

48)4  inches  x 3734  inches. 

Purchased  January  8,  1904. 

Murillo  painted  perhaps  as  many  as  twelve  pictures  of 
St.  Anthony  of  Padua  and  the  Infant  Christ,  the  out- 
standing example  being  the  large  and  once  mutilated 
picture  in  his  vaporoso  manner  now  in  the  cathedral  at 
Seville.  Also,  Curtis  records  eight  examples  of  pictures  of 
St.  Francis  of  Assisi,  in  some  of  which  the  Saint  is  repre- 
sented with  a cross,  a skull  and  a book,  but  not,  of  course, 
with  the  lily  stem. 

NEEFS,  PEETER  THE  YOUNGER 

Flemish.  Baptized,  May  23,  1620,  at  Antwerp.  Died  there  shortly  after  1675. 

He  was  the  son  and  pupil  of  Peeter  Neefs  the  Elder,  of  Antwerp 
(1578-1656),  a painter  of  church  interiors.  The  pictures  of  the  father  and 
son  resemble  each  other  so  closely  that  they  are  often  confused:  they 
vary  in  quality  and  have,  for  the  most  part,  chiefly  an  antiquarian 
interest. 

226.  THE  INTERIOR  OF  A CHURCH 

The  view  is  up  the  main  aisle  towards  the  screen  in  the 
distance.  Numerous  figures.  Many  altars  with  painted 
altarpieces.  Flat  tomb  stones  let  into  the  floor  in  the  fore- 
ground. 

Signed.  Copper,  23^  inches  x 3434  inches. 

Purchased  December,  1905. 

There  can  be  no  doubt  that  this  interior  is  that  of 
Antwerp  Cathedral.  Hans  Jantzen,  “Niederlaendische 
Architekturbild,”  p.  46,  determines  the  point  and  repro- 
duces a picture  by  Peeter  Neefs  the  Younger,  signed  high 
up  on  a column  on  the  right,  which  was  in  the  Steen- 
gracht  collection.  No.  48,  sold  June,  1913.  Another  such 
“Interior”  by  Neefs  is  in  the  Dresden  Gallery,  No.  1189A. 

NEER,  AART  or  AERT  VAN  DER 

Dutch.  Born  in  Amsterdam,  1603,  where  he  died,  November  9,  1677. 

He  painted  mostly  winter  scenes  with  moonlight,  fiery  nocturnes 
and  also  effects  of  dawn  and  twilight.  Houbraken  tells  that  van  der 
Neer  in  his  youth  was  in  the  service  of  the  lords  of  Arkel,  and  that  he 

88 


began  to  paint  at  an  advanced  age.  In  fact,  bis  first  canvases  are 
dated  1636.  They  recall  the  work  of  Camphuisen  and  his  first  winter 
landscapes  those  of  Avercamp  (g.  v.).  The  pictures  of  his  maturity, 
especially  those  of  moonlight,  are  filled  with  mystery  and  poetry,  and 
are  counted  among  the  masterpieces  of  the  seventeenth  century.  Van 
der  Neer  was  little  appreciated  in  his  lifetime,  however,  and  tried  in  vain 
to  eke  out  a livelihood,  like  other  painters  of  his  time,  by  keeping  an  inn. 
His  two  sons  were  also  painters;  Jan  imitated  him,  while  Eglon  was  a 
landscapist  as  well  as  a painter  of  elegant  interiors. 

227.  MOONRISE 

A woman  and  a boy,  accompanied  by  a dog,  on  the 
bank  of  the  canal.  Ducks  in  the  center.  The  moon  rises 
on  the  right.  On  the  far  bank,  on  the  left,  are  trees  which 
partially  obscure  a number  of  cottages.  Cloudy  sky. 

243^2  inches  x 313^  inches. 

Purchased  August  23,  1895. 

Formerly  in  the  Le  Febvre  and  Beurnonville  collections. 

228.  LANDSCAPE 

Plate 

Cattle  in  the  foreground  near  a willow  tree,  with  ducks 
to  the  right  on  the  bank  of  a pool  of  water.  A shepherd  in 
the  middle  distance.  A village  in  the  center  beyond. 

Wood,  39^  inches  x 38^^  inches. 
Signed:  “Art  van  Neer,  1635.” 

Purchased  September,  1903. 

Very  unusual  in  manner,  but  evidently  an  early  work. 

NERI  DI  BICCI,  Attributed  to 

Florentine.  1419-1491. 

An  industrious  producer  of  sacred  pictures,  which  are  remarkable  for 
no  great  originality,  he  stands  for  the  average  accomplishment  in 
Florence  previous  to  the  Renaissance. 

229.  MADONNA  AND  CHILD  WITH  SAINTS 

On  the  left  of  the  enthroned  Virgin  stand  St.  Ambrose 
(.^)  and  St.  Catharine,  with  her  wheel,  book,  coronet  and 
palm  branch.  On  the  right  are  St.  Margaret,  with  her 
cross  and  book,  and  her  dragon  at  her  feet,  and  St.  Francis 
showing  the  Stigmata. 

5334  inches  x 763^  inches. 

Purchased  October  1,  1902. 


89 


NITTIS,  GIUSEPPE  DE 

Italian.  Born  near  Barletta,  Naples,  1846.  Died  in  1884. 

Although  an  Italian,  he  studied  under  Gerome  in  Paris  and  became, 
to  all  practical  purposes,  French  in  his  art,  influenced  by  the  Impres- 
sionist movement.  He  won  popularity  and  success  as  a painter  of  scenes 
in  the  streets  of  Paris  and  London,  done  with  a brilliant  realism. 

230.  THE  RETURN  FROM  THE  RACES 

Under  the  trees  on  the  left  fashionable  men  and  women, 
with  some  children  and  nurses,  are  seated  under  the  trees, 
apparently  in  the  Bois  de  Boulogne,  Paris.  Smart  equi- 
pages pass  by  on  the  right.  In  the  distance,  on  the  right, 
are  other  carriages,  with  a view  of  the  city,  and  presum- 
ably the  Invalides,  on  the  sky  line. 

Signed  and  dated  1875. 

2334  inches  x 4534  inches. 
Given  by  John  G.  Johnson,  Esq.,  October,  1906. 

NOTER,  DAVID  EMIL  JOSEPH  DE 

Flemish.  Born,  1825. 

This  little  known  painter  of  still-life  and  radierer  was  born  at  Ghent. 
He  worked  also  at  Brussels.  The  Stettin  Museum  possesses  a picture  by 
him. 

231.  FRUIT  AND  FLOWERS 
Signed. 

Wood,  934  inches  x 1234  inches. 

Wilstach  Collection. 


ORLEY,  BERNARD  VAN,  Attributed  to 

Flemish.  Born,  1493,  at  Brussels,  where  he  died,  January  5,  1542. 

Van  Orley  was  an  outstanding  figure  in  the  period  of  temporary 
decline  in  sixteenth  century  Flemish  art,  representing  the  influence  of 
the  Italian  style  upon  the  Northern  school.  In  1509-1515  and  in  1527, 
he  traveled  in  Italy,  where  he  undoubtedly  came  in  contact  with 
Raphael.  On  his  return  he  became  court  painter  first  to  Margaret  of 
Austria,  1518,  and  second  to  Mary  of  Hungary,  1530,  both  Regents  of 
the  Netherlands.  His  principal  works  are  in  Brussels,  where  are  also 
his  stained  glass  windows,  and  his  tapestries,  the  latter  surpassing  his 
painting  in  excellence  of  design. 

232.  ADORATION  OF  THE  MAGI.  (A  Triptych) 

Full  length  figures.  In  the  center  the  Madonna 
enthroned.  On  the  left  the  eldest  of  the  Magi,  Caspar 

90 


kneels  before  the  Infant;  St.  Joseph  is  on  the  right.  In 
the  right  wing  the  second  of  the  Magi,  Melchior  (?), 
wearing  the  chain  of  the  Order  of  the  Golden  Fleece,  holds 
his  present  as  he  faces  inward.  In  the  left  wing  the  third 
of  the  Magi,  Balthazar,  the  Nubian,  holds  his  jar.  The 
outside  shutters,  painted  in  grisaille^  represent  the  Annun- 
ciation, the  Angel  on  one  shutter,  Mary  on  the  other. 
The  inscription  on  the  scroll  reads,  “Ecce  Ancilla  Domini 
Fiat  Mice  Secundum  Verbum  Tuum,”  and  “Ave  Gracia 
Plena  Dominus  Tecum.”  ' An  inferior  version  of  this 
picture,  evidently  a free  copy,  attributed  to  the  “Master 
of  Francfort,”  circa  1500-1520,  is  in  the  possession  of  the 
Bachstitz  Gallery,  The  Hague  (1922). 

Center  panel,  4934  inches  x 3134  inches. 
Each  wing,  51  inches  x 14  inches. 
Purchased  August,  1904. 

OTTER,  THOMAS 

American. 

233.  MOONLIGHT 

Signed  and  dated  1860. 

26  inches  x 47  inches. 

Wilstach  Bequest. 

PALAMEDESZ,  ANTONIE  STEVENS  or 
STEVAERTS 

Dutch.  Born  at  Delft,  1601.  Died  at  Amsterdam,  November  27,  1677. 

Son  of  the  stone  engraver,  Palamedes  Stevens  or  Stevaerts,  and  the 
younger  brother  of  the  painter,  Palamedes  Palamedesz.  He  was  strongly 
influenced  by  Miereveld  of  Delft  (q.  v.)  and  by  Franz  Hals,  and  painted 
small  portrait  groups  in  furnished  interiors  as  well  as  single  portraits. 

234.  PORTRAIT  OF  A LADY 

Half  length,  three-quarters  to  the  left.  Black  dress, 
white  lace  collar  and  cuffs,  short  sleeves;  the  hands 
crossed,  a fan  in  the  left;  a carnation  in  the  right. 

Inscribed  in  the  left  bottom  corner:  “AET.  28;  AD. 
1660.  A.  Palamedes  pinxit.” 

3234  inches  x 26%  inches. 
Purchased  August  28,  1900. 

91 


PALMA,  JACOPA  or  GIACOMA  DI  ANTONIO 
DI  NIGRETI,  Called  Palma  11  Vecchio, 
Atelier  of 

Bergamask,  born  at  Serinalta  near  Bergamo  about  1480.  Died,  in  Venice,  July  30, 
1528. 

Palma  Vecchio  occupies  a prominent  place  among  the  Venetians, 
illustrative  as  he  is  of  Venetian  love  for  richness  of  color,  and  wealth  of 
form.  He  introduced  into  art  a new  feminine  type — voluptuous  and 
handsome.  He  seems  to  have  been  the  originator  of  the  Sacra  Con- 
versazione, an  example  of  which,  from  the  hand  of  his  follower,  Boni- 
fazio,  is  to  be  found  in  the  Wilstach  Gallery.  (See  Bonifazio  I,  Veronese) . 

235.  ALLEGORICAL  SUBJECT 

Plate 

A knight,  leaning  upon  a hauberk,  looks  at  a lady  seated 
on  the  ground  opposite  him.  Between  them  are  two  whis- 
pering Landscape  with  castles  in  the  background. 

62  inches  x 55  inches. 

Purchased  January,  1922. 

This  is  evidently  a version  of  the  famous  “Soldier  and 
Gypsy,”  by  Giorgione,  in  the  Collection  of  Prince  Giovan- 
elli,  Venice.  In  this  latter  picture  the  figures  are  inter- 
changed, the  soldier  being  on  the  left,  and  the  woman,  who 
is  nude,  and  holds  a babe  on  her  lap,  being  on  the  right, 
while  the  putti  are  omitted,  and  the  sky  is  tempestuous. 
Nevertheless,  in  spite  of  these  alterations  there  is  no  mis- 
taking the  similarity  with  our  picture;  the  motive  is  the 
same;  the  painter  has  borrowed  the  idea  from  Giorgione; 
the  spirit  of  the  picture  is  Giorgionesque. 

It  appears  to  be  signed  Jacobus  Palma,  in  the  lower 
right  hand  corner,  but  as  all  this  portion  of  the  canvas  has 
been  repainted,  the  signature  must  be  regarded  with 
suspicion.  Moreover,  the  picture  bears  little  resemblance 
to  the  known  works  of  Palma.  It  may  possibly  be  by  the 
hand  of  Cariani  (Giovanni  Busi),  who  was  also  a Bergamask 
painter,  born  at  Fuipiano  on  the  Bembo  between  1485  and 
1490,  and  who  fiourished  in  Venice,  1514-1544.  Cariani 
is  supposed  to  have  been  a pupil  of  Jacopo  Palma,  whose 
works  he  imitated,  but  he  was  also  greatly  inspired  by 
Giorgione,  whose  abstractness  he  more  nearly  approached 
than  did  Palma. 


92 


ATELIER  OF  PALMA  VECCHIO 
Allegorical  Subject 


;|ui:  ■ ■ ’ 


PARMEGIANO,  FRANCESCO 

Born  at  Parma,  1504.  Died  in  Casal  Maggiore,  1540. 

Francesco  Mazzuola,  called  II  Parmegiano  and  Parmegianino,  based 
his  rather  florid  art  on  a study  of  his  fellow-townsman,  Correggio. 
Examination  of  the  works  of  Raphael  and  Michaelangelo  in  Rome 
increased  the  size  of  his  own  productions. 

236.  THE  CIRCUMCISION 

The  scene  is  enacted  at  a table  on  which  the  Infant  is 
placed  with  numerous  figures  standing  about.  In  the  left 
foreground  the  Evangelist  Matthew,  under  the  tutelage 
of  an  Angel,  is  recording  the  occurrence  in  his  Gospel. 

Wood,  9454  inches  x 623^2  inches. 
Purchased  January  8,  1904. 

PEALE,  REMBRANDT,  N.  A. 

American.  Born  in  Bucks  County,  Pa.,  February  22,  1778.  Died  in  Philadelphia, 
October  3,  1860. 

As  the  son  of  Charles  Wilson  Peale,  he  inherited  a talent  for  painting 
which  showed  itself  early  in  life.  He  studied  under  Benjamin  West  in 
London  and  later  went  to  Paris.  In  1809,  he  returned  to  Philadelphia, 
and  in  1826,  was  elected  a member  of  the  National  Academy  of  Design. 

237.  PORTRAIT  OF  GEORGE  WASHINGTON 

In  classical  attire  and  pose;  in  profile  to  the  left. 
Inscribed:  “Painted  by  Rembrandt  Peale  from  Hou- 
don’s  Bust.” 

Grisaille  in  a feigned  oval,  30  inches  x 28  inches. 
Wilstach  Bequest. 

After  a bust  by  Jean  Antoine  Houdon. 

238.  THE  PORTRAIT  OF  A BOY 

A boy  with  fair  hair,  in  a red  coat  and  white  undershirt. 
Bust  length,  looking  out  at  the  spectator.  Sky  back- 
ground. 

Signed,  “R.  Peale,  1845.” 

Feigned  oval,  18  inches  x 23J^  inches. 
Bequeathed  by  Miss  Mary  K.  Bent  to  the  Pennsylvania 
Museum  and  given  by  it  to  the  Wilstach  Collection, 
October  7,  1918. 


93 


PETERSSEN,  EILIF 

Norwegian.  Born  in  Christiania,  September  4,  1852, 

239.  WAITING  FOR  THE  RISE  OF  THE  SALMON 

Four  jSshermen  on  the  bank  in  the  foreground,  to  which 
two  boats  are  fastened,  are  watching  the  river  which 
flows  towards  the  right  between  wooded  banks. 

Signed  and  dated  1888. 

51^  inches  x 71J4  inches. 
Gift  of  John  G.  Johnson,  Esq.,  January,  1904. 


PISSARRO,  CAMILLE 

French.  Born  in  Normandy,  1831.  Died  in  Paris,  November  12,  1903. 

Pissarro  was  at  first  a painter  of  the  Norman  peasantry.  Like  Millet, 
he  was  rustic  in  spirit,  and  kept  himself  in  close  relationship  with  the 
life  of  the  earth  and  cultivated  nature.  When  the  Impressionist  move- 
ment in  French  art  began  (cf.  Monet)  he  had  already  achieved  a reputa- 
tion, but  he  realized  the  greater  possibilities  of  rendering  light  and  atmos- 
phere which  were  offered  by  the  new  method  of  painting.  And  so 
Pissarro  found  new  eyes  and  saw  the  country  in  bright  tones,  palpitating 
with  light  and  color,  and  he  became  one  of  the  foremost  Impressionists 
of  the  period. 

240.  LANDSCAPE— IN  AN  ORCHARD 

An  apple  or  pear  tree  in  full  bloom  in  the  foreground. 
A man  carrying  water  buckets,  and  a cow  grazing.  In 
the  distance  the  tower  of  a church  above  the  trees. 

Signed  and  dated  1892. 

2534  inches  x 21J^  inches. 
Purchased  1921,  from  the  collection  of  Alexander  J. 
Cassatt. 

241.  LANDSCAPE  WITH  FIELDS 

A few  young  trees  in  the  foreground.  Fields  and  farm- 
houses in  the  distance. 

Signed  and  dated  1885. 

23 inches  x 28%  inches. 

Purchased  1921,  from  the  collection  of  Alexander  J. 
Cassatt. 


94 


POUSSIN,  GASPARD  DUGHET,  Called, 
Attributed  to 

French.  Born  at  Rome,  1613.  Died  there,  1675. 

Gaspard  Dughet  was  a pupil  of  his  brother-in-law,  Nicholas  Poussin; 
from  this  double  association  he  is  generally  called  Gaspard  Poussin.  He 
was  also  greatly  influenced  by  Claude  Lorrain,  his  fellow-countryman, 
then  at  the  height  of  his  fame.  Like  Claude  he  painted  innumerable 
landscapes  from  the  Roman  Campagna.  He  excelled  in  the  quiet  effects 
of  dawn  and  evening,  as  well  as  in  the  representations  of  tempests.  As 
he  had  a predilection  for  paintipg  on  dark  backgrounds  many  of  his 
pictures  have  darkened  in  tone. 

242.  LANDSCAPE 

A man  and  a woman  in  the  right  foreground  on  the  bank 
near  a waterfall,  with  a rock  overhanging.  Figures  and  a 
watermill  in  the  distance. 

283/^  inches  x inches. 

Purchased  January  8,  1904. 

243.  LANDSCAPE 

Two  figures  in  classical  robes,  one  in  red  and  the  other 
in  yellow,  are  in  the  right  foreground  by  the  edge  of  a lake, 
on  the  far  side  of  which  is  a castellated  building.  A statue 
of  Mercury  in  the  left  foreground. 

20  inches  x 253^  inches. 

Given  by  John  G.  Johnson,  Esq.,  July  23,  1907. 

[It  is  difficult  to  make  .certain  attributions  in  respect  to 
such  pictures  as  these.  Dughet  frequently  employed 
assistants  to  paint  in  his  figures  and  he  had,  like  Claude 
and  Nicholas  Poussin,  many  pupils  and  imitators.  There 
are  any  number  of  pictures  like  this  which  cannot  with 
certainty  be  attributed.] 


PREYER,  EMILIE 

German. 


244.  FRUIT 

Wood,  16  inches  x 14  inches. 

Painted  in  1870. 

Wilstach  Bequest. 

95 


PREYER,  JOHANN  WILHELM 

German.  Born  at  Rheydt  near  Diisseldorf,  July  19,  1803.  Died  at  DUsseldorf 
February  19,  1889. 

A still-life  painter  after  the  manner  of  t|  e seventeenth  century 
Dutchmen. 

245.  STILL-LIFE 

Wood,  16  inches  x 14  inches. 

Painted  in  1870. 

Wilstach  Bequest. 

PUGA,  ANTONIO,  Attributed  to 

Spanish.  1636-1660, 

Pupil  of  Velasquez  and  a painter  of  familiar  subjects.  His  works  are 
extremely  rare. 

246.  A PEASANT  WOMAN 

Full  length  figure  of  a woman  seated;  a cat  on  the 
dresser  in  the  right  background.  A drawing  and  an 
unframed  picture  on  the  wall  at  the  back. 

57^  inches  x 42^  inches. 

Purchased  November  3,  1914. 

Curtis:  “Velazquez  and  Murillo,”  1883,  p.  330,  claims 
that  “There  is  no  picture  by  this  master  in  any  public 
gallery  in  Spain.  The  only  works  by  him  the  writer  has 
ever  seen  are  one  in  the  Hermitage  and  one  in  the  Gallery 
at  Pesth.”  That  in  the  Hermitage  at  Petrograd,  No.  435, 
represents  an  “Itinerant  Knife  Grinder,”  but  is  unsigned 
by  Puga;  it  is  said  to  have  been  in  the  Coesvelt  Collec- 
tion, but  is  unengraved  in  the  1836  catalogue.  It  is 
r^^produced  in  the  1912  edition  of  the  Petrograd  Gallery. 

That  mentioned  but  not  described  by  Curtis  as  being  at 
Buda  Pesth  is  not  recognizable  in  the  1910  edition  of  that 
catalogue. 

It  seems  to  have  escaped  the  attention  of  the  critics 
that  the  Bowes  Museum,  Barnard  Castle,  England, 
possesses  a St.  Jerome,  which  is  fully  signed  and  dated 
“Antonio  de  Puga,  F.  B.  Aus  1636.”  It  was  exhibited  at 
the  Grafton  Galleries,  London,  in  1913,  No.  1191. 

The  pedigree  of  the  present  work  is  unknown. 

96 


PULZONE,  SCIPIONE,  Called  Gaetano 

Roman.  Born  at  Gaeta  about  1550.  Died  at  Rome,  1600. 

A successful  painter  of  portraits  in  Rome  and  of  religious  pictures,  but 
quite  unworthily  designated  “The  Roman  van  Dyck.” 

247.  PORTRAIT  OF  A CARDINAL 

Three-quarter  length;  three-quarters  to  the  left; 
standing  in  Cardinal’s  robes  and  biretta.  The  right  hand 
leans  on  the  table;  a scroll  in  the  left. 

47%  inches  x 36%  inches. 
Given  July  11,  1907,  by  John  G.  Johnson,  Esq. 


RAEBURN,  SIR  HENRY,  R.  A. 

Scottish.  Born  at  Stockbridge  near  Edinburgh,  March  4,  1756.  Died  in  Edinburgh, 
July  8,  1823. 

The  most  distinguished  portrait  painter  of  Scotland;  with  Sir  Joshua 
Reynolds  and  Thomas  Gainsborough  he  stands  at  the  head  of  the  British 
School  of  Portrait  Painters.  He  was  practically  self-taught,  but  after 
his  fortunate  marriage  with  a lady  of  the  noble  house  of  Leslie  of  Bal- 
quhun  he  traveled  in  Italy,  and  that  influence  added  richness  and  depth 
to  his  art.  Although  he  had  no  rival  in  Scotland  as  a portrait  painter, 
he  did  not  come  into  the  public  recognition  in  England  that  his  works 
merited.  It  is  only  during  the  last  few  years  that  he  has  come  to  the 
front.  Today  he  is  considered  to  be  the  most  outstanding  exponent  of 
the  “direct  method”  between  Velasquez  and  Hals,  until  the  time  of 
Manet.  His  method  was  to  paint  in  the  canvas  without  preliminary 
sketches,  with  great  freedom  of  brush  stroke.  This  gave  his  portraits 
that  freshness  and  power  which  are  their  greatest  charms. 

248.  PORTRAIT  OF  COLONEL  MACDONALD  OF 
ST.  MARTIN’S 
Plate 

Full  length,  life-size  portrait  of  a middle-aged  man, 
seated  in  an  armchair.  Papers  on  the  table  to  the  right. 

76  inches  x 59%  inches. 

Purchased  December  7,  1895. 

Mentioned  in  Armstrong’s  “Raeburn,”  p.  107.  Rae- 
burn also  painted  William  MacDonald  (1732-1814),  of 
St.  Martin’s,  Writer  to  the  Signet;  it  is  now  in  Edinburgh. 

97 


RAFFAELLI,  JEAN  FRANgOIS 

French.  Born  in  Paris,  1845. 

A naturalistic  painter  of  the  workmen,  the  vagabonds  and  of  the  rest- 
less man  who  knows  not  where  to  eat  or  sleep.  These  he  painted  in  the 
melancholy  landscape  about  Paris,  or  in  the  streets  and  cafes  of  the  great 
city.  He  was  a master  of  characterization.  Stylistically  he  was  an 
impressionist  and  his  subject  matter  must  be  considered  secondary  to  his 
power  of  representing  life,  light  and  atmosphere. 

249.  OLD  WORKMAN 

Small,  full  length  figure  of  a man;  a shovel  on  the 
ground;  a horse  and  cart  on  high  ground  behind  him. 
Signed. 

Wood,  3034  inches  x 22J/g  inches. 
Given  by  John  G.  Johnson,  Esq.,  October  19,  1907. 

250.  REPOSE 

A young  woman  asleep  in  a large  white  bed.  An  open 
book  beside  her.  On  the  left  a table. 

Signed. 

573^  inches  x 72j^  inches. 
[Exhibited  in  the  Salon  of  1887,  and  reproduced  in 
photogravure  in  “The  Salon,  1887.”] 

Purchased  November,  1894. 

RAVESTEYN,  JAN  ANTHONISZ  VAN 

Dutch.  Born  about  1572.  Buried  in  The  Hague,  June  21,  1657. 

He  was  the  son  of  the  glass  painter,  Anthonis  van  Ravesteyn,  but  we 
do  not  know  his  master,  although  his  works  show  the  influence  of 
Mierevelt  {q.  v.).  He  worked  in  The  Hague  and  had  many  commissions 
from  court  circles.  He  must  be  ranked  among  the  famous  group  of 
Dutchmen  who  painted  civic  groups  and  portraits — Hals,  Mierevelt, 
Moreelse  and  Thomas  de  Keyser. 

251.  PORTRAIT  OF  PIETER  DE  LA  COURT 

Plate 

Half  length,  three-quarters  to  the  right.  In  black 
costume,  with  mill-stone  ruff.  His  right  hand  against  his 
side;  in  his  left  his  glove.  An  hour-glass  on  a book  on 
the  table  to  the  right. 

Wood,  44  inches  x 33  inches. 
Purchased  December  5,  1904. 

Signed  with  the  monogram:  “ J.  R.” 

Inscribed  at  the  top,  “Aetatis  42”  and  “AD  1635.” 

98 


SIR  HENliY  KAEIUIRN 

Portrait  ok  Coi.onkl  M acDonalo  ok  St.  Martins 


The  presumed  identity  of  the  man  seen  in  this  portrait 
(hitherto  catalogued  merely  as  “Portrait  by  J.  R.  [?]”) 
lies  in  the  not  very  convincing  inscription  on  the  back  of 
the  panel,  which  gives  us  the  name  of  “Pieter  de  la  Court, 
husband  of  Jaene  la  Planche.”  A portrait  of  Pieter  de  la 
Court,  the  celebrated  writer  on  political  economy  of  the 
same  name,  by  Abraham  van  den  Tempel  (1622-1672), 
and  signed  and  dated  1667,  is  in  the  Amsterdam  Gallery 
(Catalogue  of  1910,  No.  2290A).  The  catalogue  of  that 
gallery,  which  also  contains  the  companion  portrait  of  his 
wife,  Catharina  van  der  Voort,  painted  in  the  same  year, 
gives  the  dates  of  the  husband  as  1608-1685  (evidently 
a typographical  error  for  1618-1685).  Moes:  “Icono- 

graphia  Batavia,”  1897,  gives  details  of  Pieter  de  la  Court, 
merchant  and  writer  in  Leyden,  as  1618-1685.  Moes  also 
gives  Catharina’s  dates  as  1622-1674. 

The  Antwerp  Gallery  (Catalogue  of  1905,  No.  812), 
possesses  the  portraits  by  F.  Bol  of  1661,  of  “Jan  van  der 
Voort  and  of  his  sister,  Catharina,  second  wife  of  Pieter  de 
la  Court.  The  former  was  a literary,  political  and  indus- 
trial man  (1618-1685)  at  Leyden.”  Jan  died  unmarried 
at  Naples  in  1626,  and  Catharina,  born  at  Naples,  March 
2,  1622,  died  at  Leyden,  May  16,  1674.  The  quartered 
coat  of  arms  of  the  van  der  Voort  family  is  found  on  a 
drawing  by  W.  van  Mieris. 

The  arms  on  this  picture  correspond  to  those,  azure  y 
3 mallets  hendwise  gold  * a chief  indented  argent,  which 
Mr.  S.  C.  Bosch  Reitz  kindly  informs  us  were  the  arms  of 
the  de  la  Court  family. 

In  spite  of  these  facts,  the  inscription  on  this  panel 
presents  a diflBculty,  in  that  it  indicates  the  year  1593  as 
that  of  the  man’s  birth,  whereas  other  authorities  main- 
tain 1618  (or  erroneously,  1608).  It  is,  of  course,  possible 
that  this  portrait  does  not  represent,  but  did  once  belong 
to,  Pieter  de  la  Court.  In  any  event  it  may  tentatively  be 
catalogued  as  a work  of  1635  by  Ravesteyn. 

[It  is  possible  that  this  is  a portrait  of  a Pieter  de  la 
Court,  father  of  the  political  economist.  The  portrait 
was  sold  in  1904,  by  Frederick  Muller,  at  the  sale  of  the 
collection  of  Jonkheer  de  la  Court.  In  the  catalogue  of 
this  sale  it  was  reproduced  in  photogravure  and  labeled 

99 


“Portrait  of  Pieter  de  la  Court,  manufacturer  of  Leyden, 
where  he  had  settled  after  religious  persecution,  in  1613,” 
This,  if  true,  indicates  he  was  of  an  older  generation  than 
the  economist,  born  1593,  aged  twenty  when  he  fled  to 
Leyden,  and  forty-two  in  1635,  when  this  portrait  was 
made.  The  same  catalogue  states  it  is  a companion 
portrait  to  the  portrait  of  a lady,  exhibited  at  The  Hague 
in  1903,  No.  91  (Exposition  of  Portraits  at  The  Hague, 
1903).  Our  portrait  was  also  exhibited  at  the  Exposition 
of  Ancient  Art  at  Utrecht,  1894,  Kunstliefde  Museum, 
Utrecht.  (See  Hofstede  de  Groot,  “Exposition  de  Por- 
traits a La  Haye,”  1903).  The  history  of  our  picture 
seems  clear.  It  remained  in  the  de  la  Court  family  until 
1904,  when  it  was  sold  at  Amsterdam  and  immediately 
purchased  by  the  Wilstach  Gallery.] 


REMBRANDT,  REMBRANDT  HARMENSZ 
VAN  RYN,  After 

Dutch.  Born  at  Leyden,  July  15,  1606.  Died  at  Amsterdam,  October  4,  1669. 

The  art  of  Rembrandt  “is  not  for  our  age,  but  for  all  time.”  As  a 
painter  and  as  an  engraver  he  surpassed  all  the  artists  of  his  time,  and 
scarcely  any  but  submitted  to  his  influence  in  one  way  or  another.  In 
painting  he  was  a landscapist,  religious,  genre  and  portrait  painter. 
Perhaps  what  distinguishes  him  most  is  his  intimate  characterization 
of  the  people  he  portrayed;  in  other  words,  his  deep-searching  under- 
standing of  life.  But  what  appeared  most  obvious  to  his  followers  was 
his  original  rendering  of  light  and  shade. 

Rembrandt  was  highly  esteemed  in  the  first  part  of  his  career,  from 
1630-1650.  He  painted  for  the  Stadholder  Frederic  Henry,  for  the  City 
of  Amsterdam  and  for  numerous  corporations  of  his  city.  During  the 
last  years  of  his  life,  1654-1669,  he  suffered  from  family  misfortunes  and 
financial  difficulties  and  died  poor.  These  adversities,  however,  had 
little  influence  on  his  work,  except  to  ripen  it.  His  “Syndics,”  painted 
in  1662,  was  perhaps  the  most  perfect  work  of  his  lifetime,  and  he  left 
at  his  death  between  500  and  600  works. 

252.  PORTRAIT  OF  A RABBI 

The  Rabbi,  wearing  a white  turban,  and  bearded,  is  seen 
at  half  length  and  to  the  front.  His  cloak  is  fastened  with 
a gold  clasp.  His  left  hand  rests  in  the  palm  of  his  right. 
In  a second  chamber,  dimly  seen  in  the  right  distance,  is  a 
chair  placed  before  a table  on  which  is  an  open  book,  in 
front  of  a high  brass  pillar  round  which  a serpent  is 

100 


twined.  The  original  of  this  picture  is  signed  and  dated 
1635  by  Rembrandt.  Since  1764  it  has  belonged  to  the 
Dukes  of  Devonshire.  It  now  hangs  at  Chatsworth. 

39  inches  x 30^/2  inches. 

Given  by  John  G.  Johnson,  Esq.,  November  20,  1908. 

H.  de  Groot:  “Catalogue  Raisonne,”  1916,  Vol.  VI, 
No.  346,  p.  197,  mentions  that  there  are  numerous  copies, 
dating  from  the  seventeenth  and  eighteenth  centuries, 
of  this  picture,  which  is  known  to  have  been  in  the  collec- 
tion of  the  Dukes  of  Devonshire  since  1764.  He  indicates 
the  present  whereabouts  of  seven  of  such  copies,  and  thinks 
that  the  man  represented  may  on  account  of  the  brazen 
serpent  denote  Moses  or  Aaron.  The  original  is  in  Bode’s 
“Rembrandt,”  Vol.  Ill,  No.  199. 


RENAN,  ARY 

French.  Born  in  Paris  in  1855.  Died  in  Paris,  August  4,  1900. 

Son  of  the  famous  Ernest  Renan,  and  grandson  of  Ary  Scheffer; 
a pupil  of  Moreau  and  of  Puvis  de  Chavannes.  As  his  apprenticeship 
indicates,  he  was  a painter  of  idealistic  and  classical  tendencies. 

253.  AT  THE  WINDOW 

Small,  full  length  portrait  of  a woman;  night-time. 
Signed  and  dated  1895 

Wood,  51J/2  inches  x 37^  inches. 
Given  by  John  G.  Johnson,  Esq.,  January  28,  1904. 


RENI,  GUIDO 

Bolognese.  Born  at  Calvenzano  near  Bologna  in  1575.  Died  in  1642. 

Influenced  by  the  Carracci,  and  later  by  Caravaggio,  Guido  Renf 
became  one  of  the  most  facile  and  popular  painters  of  his  time.  He 
belonged  however,  to  the  decadent  period  of  Italian  art;  his  art  was 
borrowed;  he  was  prolific  without  being  profound,  hence  today  he 
is  not  accorded  such  fame  as  formerly. 

254.  THE  MASSACRE  OF  THE  INNOCENTS 

Two  executioners  are  putting  a child  to  death;  other 

101 


children  are  already  dead  in  the  foreground.  Several 
panic-stricken  mothers.  Angels  in  the  sky. 

58  inches  x 363^  inches. 

Given  by  John  G.  Johnson,  Esq.,  November,  1912. 

255.  CAIN  AND  ABEL 

Full  length  figures.  Cain,  with  uplifted  right  hand,  is 
about  to  strike  Abel,  who  lies  on  the  ground.  Dark  sky 
and  background. 

101 inches  x 73?/^  inches. 

Purchased  October  2,  1900. 

256.  ORPHEUS  AND  EURYDICE 

Orpheus,  his  violin  on  the  ground,  stands  on  the  left  to 
receive  into  his  embrace  Eurydice,  who  is  won  back  from 
the  torments  of  the  damned  and  the  most  inexorable  of 
all  deities  by  the  charms  of  his  music.  She  is  accompanied 
by  a nude  attendant  and  two  'putti. 

583/8  inches  x 64^  inches. 

Purchased  January  8,  1904. 


RENOIR,  FIRMIN  AUGUSTE 

French.  Born  in  Limoges,  February  25,  1841.  Died,  1919. 

Renoir  was  the  great  exponent  of  Impressionism  in  portraiture  (c/. 
Pissarro,  Monet).  His  masterpiece  in  the  Metropolitan  Museum,  New 
York,  shows  a family  group,  palpitating  with  life,  movement  and  color. 
In  his  early  period  he  was  a sound  draughtsman,  going  merely  one  step 
beyond  Bonnat  and  Carolus  Duran  in  adding  life  and  brilliancy  to  mere 
likeness.  But  later  he  forsook  past  standards  and  experimented  with  new 
methods  of  portraying  largeness  and  roundness  of  form,  becoming 
abstract  rather  than  concrete,  symbolic  rather  than  descriptive. 

257.  PORTRAIT  OF  A YOUNG  GIRL 

Turned  three-quarter  profile,  in  a straw  hat,  trimmed 
with  flowers;  white  dress  and  red  collar. 

Signed. 

163^  inches  x 123^2  inches. 

Purchased  1921,  from  the  collection  of  Alexander  J. 
Cassatt. 


102 


RIBERA,  JUSEPE  DE  (Lo  Spagnoletto) 

Spanish.  Born  at  Xativa  (now  San  Felipe),  near  Valencia,  January  12,  1588.  Died 
at  Naples  in  1656. 

Although  a native  of  Valencia,  Ribera  early  in  life  went  to  Rome 
where  he  studied  under  Caravaggio  and  derived  from  him  the  manner  of 
painting  in  broad  contrasts  of  light  and  shade.  Caravaggio’s  rugged 
naturalism  was  peculiarly  suited  to  his  temperament  and  he  himself 
became  a leader  of  the  Italian  naturalists.  From  Rome  he  went  to 
Parma  and  finally  settled  in  Naples  where  the  ruling  house  was  Spanish 
and  here  he  enjoyed  high  honors.  His  preference  in  later  life  for  scenes  of 
horror  has  made  it  dijSficult  for  us  today  to  admire  many  of  his  works,  yet 
his  rich  coloring  and  forceful  individuality  will  always  give  him  a high 
place  in  the  Spanish  Neapolitan  School. 

258.  ST.  SEBASTIAN 

The  Saint,  his  hands  still  bound  to  a tree,  lies  on  the 
ground  on  the  left.  Angels  are  about  to  place  a crown  on 
his  head.  On  the  right,  Irene,  kneeling,  holds  an  arrow 
which  had  not  struck  a vital  part  of  his  body;  she  is 
attended  by  an  elderly  woman,  who  advances  from  the 
right. 

72^  inches  x 108^  inches. 

Purchased  October  1,  1901. 


RICHARDS,  WILLIAM  TROST,  P.  A.,  N.  A. 

American.  Born  in  Philadelphia,  November  14,  1833.  Died  in  1905. 

Richards  studied  in  Florence,  Rome  and  Paris.  He  was  a painter  of 
landscapes  and  marines. 


259.  MOUNTAIN  LANDSCAPE 

A stream  in  the  foreground.  In  the  distance  a river, 
and  mountains  beyond. 

30  inches  x 44  inches. 

Wilstach  Bequest. 

260.  LANDSCAPE— FISHER’S  LANE,  GERMANTOWN 

A pool  of  water  in  the  foreground,  cattle  in  the  distance. 

393^  inches  x 53J^  inches. 


Wilstach  Bequest. 


103 


RICO,  MARTIN 

Spanish.  Born  at  Madrid,  1850.  Died  at  Venice,  April,  1908. 

After  learning  the  rudiments  of  his  art  from  an  amateur  painter  in 
Spain,  he  became  a pupil  of  Federico  de  Madrazo.  In  1862,  he  received 
the  Prix  de  Rome  at  Madrid,  but  used  his  four-year  pension  thus  acquired 
to  study  under  Zamacois,  Meissonier  and  Daubigny  in  Paris.  He 
also  studied  under  Fortuny  in  Italy.  The  influence  of  Madrazo,  Fortuny, 
Zamacois  {q.  v.)  and  Meissonier  is  discernible  in  Rico’s  work,  for  he 
preferred  the  small  sized  picture,  with  minute  detail.  He  is  known 
principally  for  his  bright  and  delicate  Venetian  views. 

261.  LANDSCAPE 

Rowboats  are  moored  to  a raft,  in  the  foreground  are 
eel-traps.  Sailing  boats  on  the  river  in  the  left  distance; 
to  the  right  a backwater. 

Signed. 

10  inches  x 18  inches. 

Wilstach  Bequest. 


RIEFSTAHL,  LUDWIG  FRIEDRICH 
WILHELM 

German.  Born,  August  15,  1827,  at  Neu  Strelitz.  Died  in  Munich,  October  11, 
1878. 

A painter  of  the  peasantry  of  Westphalia  and  the  Rhine  country. 

262.  RETURNING  FROM  THE  CHRISTENING 

A group  of  peasants  returning  to  a cottage  in  rocky 
country. 

Signed  and  dated  1865. 

26^  inches  x 423^  inches. 

Wilstach  Bequest. 

ROSA,  SALVATORE 

Neapolitan.  Born  at  Renella,  near  Naples,  in  1615,  Died  at  Rome,  1673. 

He  was  a painter  with  a strange  and  varied  career.  First  fleeing  from 
a religious  school  where  his  father  had  placed  him  with  the  intention  of 
fitting  him  for  the  church,  he  later  joined  a band  of  brigands,  and  finally 
appeared  before  the  public  eye  as  an  actor,  poet  and  singer.  His  turbu- 
lent temperament,  thus  exemplified  in  his  life,  is  reflected  in  his  art. 
He  learned  painting  from  his  brother-in-law,  a painter  of  the  school  of 
Ribera  (lo  Spagnoletto) . He  is  best  known  for  his  battle  scenes,  which 

104 


are  wild  rather  than  eventful,  but  he  was  also  a landscape  painter.  His 
landscapes  are  sometimes  poetic,  resembling  Claude’s,  but  his  preference 
was  for  gloomy  forests,  rocky  defiles  and  storms  at  sea. 

263.  BATTLE  SCENE 

Tumultuous  array  of  mounted  soldiers  in  close  conflict. 
The  battle  continues  far  into  the  right  background.  A 
city  near  the  bridge  in  the  distance. 

49  inches  x 67^  inches. 

Purchased  January  8,  1904. 

For  Salvatore  Rosa  see  also  under  Jan  Both. 


ROTHERMEL,  PETER  FREDERIC,  P.  A.,  N.  A. 

American.  Born  in  Nescopack,  Luzerne  Co.,  Pa.,  July  18,  1817.  Died  in  Gross- 
landmere.  Pa.,  August  15,  1895. 

He  studied  under  Bass  Otis  in  Philadelphia  and  traveled  from  1856  to 
1859  in  Europe,  studying  for  two  years  of  this  time  in  Rome.  When  he 
returned  to  Philadelphia  he  established  for  himself  a reputation  as  an 
historical  painter,  and  is  known  by  such  pictures  as  “Columbus  before 
Isabella,”  “Embarkation  of  Columbus,”  “Patrick  Henry  before  the 
Virginia  House  of  Burgesses,”  etc. 

264.  KING  LEAR  AND  CORDELIA 

The  main  flgures  are  in  the  center;  two  other  characters 
are  in  the  background,  one  on  either  side. 

25  inches  x 30  inches. 

Wilstach  Bequest. 

ROUSSEAU,  PHILIPPE 

French.  Born  in  Paris,  February  22,  1816,  where  he  died,  December  5,  1887. 

A pupil  of  Gros  and  of  Bertin,  he  achieved  a measure  of  success  as  a 
still-life  painter,  and  in  due  course  won  the  orthodox  honors  of  the  Salon. 

265.  PEACHES 

Peaches  in  a dish;  a tall  vase  and  a metal  jug  on  a 
table,  which  is  spread  with  a white  cloth. 

Signed  and  dated  1869. 

50^  inches  x 383^  inches. 


Wilstach  Bequest. 


105 


ROUSSEAU,  PIERRE  ETIENNE  THEODORE 

French.  Born  in  Paris,  April  15,  1812.  Died  in  Barbizon,  December  22,  1867. 

Rousseau  was  the  leader  and  founder,  if  any  one  man  may  be  called 
such,  of  the  Barbizon  school,  the  first  to  be  inspired  by  the  example  of 
the  English  landscapists  to  seek  nature  out-of-doors,  and  to  paint  land- 
scape for  its  personal  appeal. 

Rousseau,  unlike  more  modern  landscapists,  did  not  attempt  to 
portray  the  fugitive  effects  of  landscape — moody,  stormy  or  sunny.  He 
tried  to  paint  the  eternal  aspect  of  nature,  hence  he  has  been  called  the 
Epic  Poet  of  the  French  landscapists. 

For  years  he  was  persistently  excluded  from  the  Salon,  and  only 
through  innumerable  obstacles  he  finally  won  his  way  to  recognition, 
until  today  he  stands  with  Millet  and  Corot  as  one  of  the  first  masters 
of  his  profession. 

266.  LANDSCAPE 

Flat  piece  of  ground  seen  in  springtime,  surrounded  by 
trees,  with  sloping  hills  beyond. 

Wood,  4^  inches  x inches. 

Purchased  May  8,  1912. 

267.  LANDSCAPE 

A pool  of  water  seen  by  moonlight;  on  the  left  in  the 
distance  are  houses,  with  trees  seen  against  the  sky  line. 

Wood,  10  inches  x 13  inches. 

Purchased  March  13,  1896. 


ROYBET,  FERDINAND  VICTOR  LEON 

French.  Born  in  Uzes,  April  20,  1840.  Died,  1920. 

A pupil  of  Vibert  and  Professor  of  the  Ecole  des  Beaux  Arts,  Lyons. 

268.  THE  SULTAN’S  VENGEANCE 

An  oriental  interior.  A woman  in  splendid  but  scanty 
attire  lies  dead  on  the  floor.  The  Nubian  executioner, 
with  drawn  sword,  is  leaving  the  room ; the  heavy  curtain 
on  the  right  is  held  back  by  a negro  slave. 

Signed. 

263'i  inches  x SO^  inches. 
Given  by  John  G.  Johnson,  Esq.,  October,  1906. 

106 


RUBENS,  PETER  PAUL 

Flemish.  Born  at  Siegen  in  Westphalia,  June  28,  1577.  Died,  May  30,  1640,  at 
Antwerp. 

Rubens  was  one  of  the  rare  versatile  geniuses  of  art  history.  He  was  a 
courtier,  a great  traveler,  able  linguist,  sound  scholar,  an  ambassador; 
in  short,  a man  of  many  interests  and  friendships.  This  versatility  is 
shown  in  his  art,  for  he  was  not  only  a religious  and  historical  painter, 
but  a landscapist  and  portraitist.  In  all  these  fields  he  was  pre-eminent 
and  wielded  an  influence  in  each.  He  was  thus  the  foremost  Flemish 
painter  of  his  day.  His  imagination,  exuberance  and  instinct  for  trans- 
parent and  splendid  color  revived 'the  waning  Flemish  school,  and  it 
may  be  said  that  he  became  the  source  of  inspiration  for  succeeding 
painters  of  whatever  school,  who,  rebellious  of  cold  classicism,  sought 
life  and  color  in  art. 

269.  ACHILLES  DISCOVERED  AMONG  THE 
DAUGHTERS  OF  LYCOMEDES 

On  the  left  at  the  entrance  to  a palace,  the  six  daughters 
of  Lycomedes  are  gathered.  One  of  them  is  kneeling 
before  a basket  out  of  which  Achilles  has  just  taken 
the  helmet,  which  he  places  on  his  head,  although  dressed 
as  a young  woman,  to  the  amazement  of  one  of  the 
daughters.  This  martial  choice  of  Achilles  has  revealed 
his  identity  to  the  bearded  Ulysses,  who,  with  his  friend, 
in  reality  his  sword  bearer,  stands  on  the  right.  A dog 
in  the  foreground. 

Wood,  143^8  inches  x 19%  inches. 

Purchased  October,  1902. 

Formerly  in  the  collection  of  Abbe  Gosselin,  in  Paris. 

Subsequently  in  possession  of  Sedelmeyer,  whose  seal 
it  bears.  Reproduced  in  Sedelmeyer’s  “Catalogue,” 
1902,  No.  35,  it  is  there  said  to  have  been  engraved  by 
B.  Baron,  presumably  Bernard  Baron  (1700-1766),  and 
to  measure  13%  inches  x 19%  inches.  No  other  mention 
seems  to  have  been  made  of  this  interesting  sketch. 

The  large  painting  (87  inches  x 104%  inches)  of  this 
subject  in  the  Madrid  Gallery  (No.  1661)  is  dealt  with  at 
length  by  Max  Rooses.  It  was  one  of  the  pictures  painted 
about  1617,  and  offered  by  Rubens  unsuccessfully  the 
following  year  to  Sir  Dudley  Carleton.  It  was  admitted 
by  Rubens  to  be  “the  work  of  the  best  of  his  pupils,  but 
entirely  retouched  by  him.”  (The  reference  to  the  pupil 

107 


is  understood  to  be  to  van  Dyck.)  Declined  then,  it  was 
sold  in  1628  by  Rubens  to  Philip  IV.  The  setting  of  that 
composition  is  much  more  grand,  elaborate  and  imposing 
than  the  present  sketch,  as  indeed  it  would  naturally  be 
from  the  scale  and  technical  conditions  adopted.  In  it 
Achilles  is  raising  with  his  right  hand  the  sword  he  has 
found  among  the  merchandise,  while  holding  the  scabbard 
with  the  other.  Rubens  has  doubtless  retouched  the 
Madrid  picture,  which  still  seems  to  be  in  great  part  by 
van  Dyck. 

Waagen:  “Art  Treasures,”  Vol.  II,  p.  314,  indicates 
it  as  being  in  the  collection  of  Lord  Brownlow  in  1854. 
“Several  sketches  by  Rubens,  the  most  remarkable  of 
them  being  the  discovery  of  Achilles  among  the  daughters 
of  Lycomedes.  . . . The  composition  exhibits  in  a high 
degree  the  spirit  of  Rubens;  the  coloring  is  bright,  the 
light  and  sketchy  handling  admirable.” 

M.  Rooses  states  that  “a  sketch  of  this  composition  in 
grisaille,  made  probably  for  the  engraver,  and  measuring 
13  j)ouce  by  10  pouce  (about  12  inches  x 9 inches),  was 
sold  with  the  Munro  of  Novar  collection  in  1878.” 

Lord  Lis  towel  lent  a large  picture  of  this  subject  by  van 
Dyck  to  the  Grosvenor  Gallery,  1887,  No.  104. 

Achilles  was  sent,  disguised  in  female  attire,  to  the  Court 
of  Lycomedes,  King  of  the  Island  of  Scyros,  to  be  con- 
cealed there  that  he  might  not  go  to  the  Trojan  War, 
where  his  mother  feared  he  might  perish.  He  remained 
there  until  discovered  by  Ulysses,  who  came  to  the  island 
in  the  disguise  of  a traveling  merchant  and  offered  various 
articles  of  female  attire  for  sale  and  mingled  with  them 
some  pieces  of  armor.  On  a sudden  blast  being  given  with 
a trumpet,  Achilles  discovered  himself  by  seizing  upon  the 
arms.  The  young  warrior  then  joined  the  army  against 
Troy. 

This  rather  unusual  subject  was  dealt  with  by  Angelica 
Kauffmann  (1741-1807)  at  least  three  times.  The  out- 
standing example  is  that  entitled  “An  Homeric  Legend,” 
by  her  in  the  collection  of  Sir  Frederick  Cook,  “Cata- 
logue,” 1915,  Vol.  HI,  No.  419. 

Max  Rooses:  “L’Oeuvre  de  P.  P.  Rubens,”  1890,  Vol. 
HI,  No.  567,  p.  47. 


108 


Max  Rooses  (tr.  H.  Child),  “Rubens,”  1904,  Vol.  I, 
p.  275,  Vol.  II,  p.  454. 

Dillon:  “Rubens,”  1909,  p.  239. 

Klassiker  der  Kunst,  “Rubens,”  1905,  p.  139. 


RUBENS,  PETER  PAUL 

Flemish.  And  / 

FRANS  SNYDERS 

Flemish.  1579-1657.  (See  under  Snyders.) 

270.  THE  ADVENTURES  OF  PHILOPOEMEN 

Philopoemen,  a red-robed,  bearded  man,  is  chopping 
wood  in  the  left  foreground  for  the  cook  at  an  inn;  her 
husband  is  in  the  background,  and  recognizes  the  liberator 
of  his  country.  This  scene  is  set  outside  the  house,  the 
interior  of  which  on  the  right  is  hung  with  cooking  utensils. 
A dead  swan,  a fawn,  peacock,  fruit  and  vegetables  in  the 
right  foreground. 

94  inches  x 112  inches. 

Purchased  February  20,  1907. 

Philopoemen  (B.  C.  253-184)  was  a prominent  states- 
man and  famous  as  the  General  of  the  Achseans.  He 
reorganized  the  army  with  a view  to  establishing  the 
independence  of  his  country  on  a firm  basis,  and  was  pro- 
claimed Liberator  of  Greece  in  B.  C.  207.  After  the  revolt 
of  the  Messeneans  from  the  Achaean  League  he  was 
captured  and  condemned  to  die  by  drinking  hemlock. 

This  is  claimed,  and  with  reason,  to  be  the  picture 
formerly  in  the  famous  collection  of  the  Due  d’Orleans 
until  circa  1798,  and  engraved  by  N.  Varin. 

At  Christie’s,  May  12,  1906,  No.  119. 

Smith:  “Catalogue  Raisonne,”  1830,  p.  209,  No.  750. 

M.  Rooses:  “Rubens,”  Vol.  IV,  No.  800. 

Dillon:  “Rubens,”  1909,  p.  119. 

Stryienski:  “Galerie  du  Regent,”  1913,  p.  188,  No.  469. 

The  original  sketch  for  this  composition  is  in  the 
Louvre,  No.  2124,  “which  is  essentially  a brilliant  still-life 
study  for  a lost  picture.” 


109 


RUISDAEL,  JACOB  ISAAKSZ  VAN 

Dutch.  Born  at  Haarlem  in  1628  or  1629.  Buried  in  the  same  town,  March  14, 
1682. 

Son  of  Isaak  van  Ruisdael  and  nephew  of  Salomon  van  Ruisdael,  a 
landscape  painter,  who  was  probably  also  his  master. 

Ruisdael  painted  at  first  the  wooded  regions,  the  dunes,  the  sea  and 
the  rivers  around  Haarlem  and  Amsterdam.  Then  he  extended  his 
studies  to  every  part  of  the  Low  Countries  up  to  Cleves  and  Bentheim 
in  Westphalia,  until  finally,  led  by  the  romance  of  wild  scenery,  he  went 
as  far  as  the  mountains  of  Germany.  Some  of  his  views  are  called 
Norwegian,  but  these  were  probably  inspired  by  the  studies  of  Allaert 
van  Everdingen,  who  went  to  Sweden. 

He  was  above  all  a painter  of  atmosphere  and  sky,  and  in  the  manage- 
ment of  light  and  shade  he  is  to  be  regarded  in  his  school  as  one  of  the 
profound  landscape  painters.  All  his  works  do  not,  however,  reach  to 
the  same  high  level.  In  his  late  works  the  dark  under-painting  has  come 
up  and  obscured  his  skies  and  shadows.  His  influence  has  been  far- 
reaching  upon  later  landscapists,  notably  upon  the  English  school,  and 
through  them,  upon  the  Barbizon  group,  especially  upon  Rousseau. 
Meindert  Hobbema  was  his  most  celebrated  pupil. 

271.  A RIVER  SCENE  WITH  BARGES 

Men  are  variously  employed  on  barges  moored  to  the 
shore  in  the  foreground.  A house,  a kiln  and  buildings 
on  the  bank  further  back. 

Signed  with  the  artist’s  monogram. 

29%  inches  x 41%  inches. 

Purchased  October  15,  1902. 

H.  de  Groot:  “Catalogue  Raisonne,”  1912,  Vol.  IV, 
p.  65,  No.  194,  as  “A  Lime  Mill  on  a River  Bank.” 

272.  LANDSCAPE  WITH  A WATERFALL 

Plate 

Two  men  are  on  the  bank  on  the  left,  looking  down  on 
the  waterfall.  Figures  and  a cottage  are  on  the  high 
bank  on  the  right.  In  front  is  a fallen  birch  tree. 

Signed. 

40  inches  x 55%  inches. 

Purchased  March  11,  1895,  from  the  collection  of  the 
Earl  of  Onslow. 

H.  de  Groot:  “Catalogue  Raisonne,”  Vol.  IV,  1912, 
p.  92,  No.  283. 


110 


JACOB  VAN  RUISDAEL 
Landscape  with  Waterfall 


JOHN  SINGER  SARGENT 

Portrait  of  Lady  Millicent  Hawes 


SACCHI,  ANDREA 

Roman.  Born  about  1600,  at  Nettuno,  near  Rome,  where  he  died  in  1661. 

He  was  a painter  highly  esteemed  in  Rome  during  his  lifetime,  and 
was  the  master  of  Carlo  Maratta  {q.  v.).  Sacchi  is  perhaps  best  known 
for  his  “St.  Romuald  and  his  Monks,”  in  the  Vatican  Gallery. 

273.  ST.  AUGUSTINE 

Life-size,  half  length  figure,  wearing  a mitre  and  a wide 
cape.  A quill  pen  in  his  right  hand,  which  he  raises 
above  an  open  folio  in  the  left  foreground,  as  he  looks  up 
ecstatically  into  the  heavens.  In  the  left  background  a 
'putto  holds  his  pastoral  staff. 

inches  x 58  inches. 

Purchased  January  8,  1920. 

274.  ST.  GREGORY 

Life-size,  half  length  figure,  wearing  a biretta.  The 
orphreys  of  his  cape  decorated  with  the  figures  of  St.  Peter 
and  St.  Paul.  A quill  pen  in  his  right  hand;  his  left  leans 
on  the  folio  open  before  him  on  the  table.  A dove  at  his 
ear. 

4434  inches  x 573^  inches. 

Purchased  January  8,  1904. 


SARGENT,  JOHN  SINGER,  N.  A.,  R.  A. 

American.  Born  in  Florence,  Italy,  of  American  parents,  January  12,  1856. 

He  studied  first  in  the  Academy  of  Fine  Arts,  Florence,  and  later 
under  Carolus  Duran  in  Paris  (g.  v.).  He  lives  in  London,  England. 

He  is  one  of  the  most  eminent  portrait  painters  and  mural  decorators 
of  the  present  day.  His  work  may  best  be  studied  in  the  Boston  Public 
Library,  The  Boston  Museum  of  Fine  Arts  and  in  the  museums  of  the 
Luxembourg  (Paris),  Tate  (London),  Worcester,  Metropolitan  (New 
York),  and  the  Academy  in  Philadelphia. 

275.  PORTRAIT  OF  LADY  EDEN 

Three-quarter  length,  three-quarters  to  the  left.  Seated 
in  an  armchair  and  wearing  a white  dress,  low  cut,  and 
black  wrap.  Cards  in  her  hands,  as  she  plays  Patience  at 
the  table  on  the  left. 

Signed  and  dated  1907. 

Purchased  1920.  43  inches  x 34  inches. 

Exhibited  at  the  Royal  Academy,  1907,  No.  38. 

Ill 


Sybil  Frances,  daughter  of  Sir  William  Grey,  married 
July  20,  1886,  Sir  William  Eden,  Bart,  of  West  Auckland, 
Co.  Durham,  and  Maryland,  U.  S.  A.,  who  died  in  1915. 
Sir  William  Eden  was  descended  from  Sir  Robert  Eden, 
Governor  of  the  Province  of  Maryland,  who  was  created  a 
Baronet,  October  19,  1776,  and  who  married  Caroline 
Calvert,  sister  and  co-heir  of  the  sixth  and  last  Lord 
Baltimore  (peerage  extinct,  1771). 

The  Times^  London,  May  4,  1907. 

The  New  York  Times,  December  17,  1918. 

276.  PORTRAIT  OF  LADY  MILLICENT  HAWES 

(Duchess  of  Sutherland) 

Plate 

The  Duchess  stands  full  length,  in  three-quarters 
profile  to  the  right,  her  right  hand  resting  on  a table. 

1023^  inches  x 57^4  inches. 

Signed  and  dated  1904. 

Purchased  May,  1922. 

Lady  Millicent  Fanny  St.  Clair  Erskine  is  the  eldest 
daughter  of  the  fourth  Earl  of  Roslyn.  She  married 
first,  1884,  the  fourth  Duke  of  Sutherland,  who  died  in 
1913;  second,  1914,  Major  P.  D.  Fitzgerald,  and  third, 
1919,  Lt.  Col.  G.  E.  Hawes,  D.  S.  O.,  M.  C. 

Lady  Millicent  Hawes  is  a woman  deeply  interested  in 
social  reform,  and  as  an  authoress  has  won  for  herself  a 
reputation. 

SCARSELLA,  IPPOLITO,  Often  called  Scar- 

sellino 

Ferrarese.  Born  in  1551,  at  Ferrara,  where  he  died  in  1620. 

Pupil  of  Giacomo  Bassano,  and  influenced  by  Veronese.  After  visit- 
ing Venice,  Bologna  and  Parma  he  settled  in  his  native  city  where 
many  of  his  works  remain. 

277.  BETWEEN  LOVE  AND  RICHES 

A young  lady,  fashionably  attired,  turns  her  back  on 
an  old  man  who  tries  to  press  her  to  accept  a golden  dishr 
a palace  in  the  left  background.  The  young  lady  looks 
tenderly  towards  a young  man  who,  standing  in  the  right 
foreground  and  dressed  in  red,  plays  on  his  guitar;  he  is 

112 


attended  by  a negro  page  holding  a basket  full  of  flowers, 
A fountain  and  an  avenue  of  trees  in  the  right  background. 

49  inches  x 76  inches. 

Purchased  February  20,  1907. 

278.  ST.  MATTHEW 

Full  length,  seated  figure,  with  the  angel,  the  symbol  of 
St.  Matthew.  One  of  four  companion  pictures. 

43  inches  x 36  inches. 

Purchased  January  8,  1904. 

279.  ST.  MARK 

Full  length,  seated  figure,  with  the  lion,  the  symbol  of 
St.  Mark. 

43  inches  x 36  inches. 

Purchased  January  8,  1904. 

280.  ST.  LUKE 

Full  length,  seated  figure  in  meditation,  with  the 
bull,  the  symbol  of  St.  Luke. 

43  inches  x 36  inches. 

Purchased  January  8,  1904. 

281.  ST.  JOHN 

Full  length,  seated  figure,  with  the  eagle,  the  symbol  of 
St.  John. 

43  inches  x 36  inches. 

Purchased  January  8,  1904. 

SCHLESINGER,  HENRI 

French.  Born  at  Frankfort-on-Main,  1814.  Died,  1893. 

Although  of  German  birth,  Schlesinger  became  a naturalized  Freneh 
man.  He  was  a portrait  and  genre  painter. 

282.  ALONE  AT  THE  ATELIER 

The  model,  a young  girl,  looks  in  the  mirror;  a throne 
in  the  background. 

Signed  and  dated  1868, 

36  inches  x 28  inches. 


Wilstach  Bequest. 


113 


SCHREYER,  ADOLPH 

German.  Born  in  Frankfort-on-Main,  May  9,  1828.  Died  in  Cronberg,  1899. 

As  a war  artist  he  went  through  the  Crimean  War.  From  1862  to 
1870,  he  lived  in  Paris  and  painted  battle  pieces,  horses  and  winter 
scenes.  For  these  latter  he  is  best  known. 

283.  WINTER:  HORSES  BY  A SHED 

Three  Steppe  ponies  take  shelter  from  the  cold  wind, 
near  a thatched  stable,  in  winter. 

Signed. 

35  inches  x 44J^  inches- 

Wilstach  Bequest. 

SCHROEDTER,  ADOLF 

German.  Born  in  Schwede,  June  28,  1805.  Died  in  Carlsruhe,  Deeember  9,  1875. 

284.  DON  QUIXOTE  IN  HIS  STUDY 

He  is  seated  in  an  armchair,  his  feet  resting  on  books; 
books  all  around  him. 

24  inches  x 30  inches . 

Wilstach  Bequest. 

285.  TWO  MONKS  IN  A WINE  CELLAR 
A scene  of  much  disorder  in  a ruined  building. 

173/2  inches  x 2034  inches. 
Signed  with  monogram  and  dated  1863. 

Wilstach  Bequest. 

SCORED,  JAN,  Attributed  to 

Dutch.  Born  at  Schoorl  near  Alkmaar,  August  1,  1495.  Died  in  Utrecht,  Decem- 
ber 6,  1562. 

Scorel  was  one  of  the  distinguished  early  Dutch  masters,  whose  work 
illustrated  the  transition  from  the  primitive  to  the  Renaissance  style. 
He  was  a pupil  of  Jacob  Cornelisz  at  Amsterdam  and  of  Jan  van  Mau- 
beuge  at  Utrecht.  He  traveled  in  Germany  and  visited  Diirer  in 
Nuremberg.  He  went  also  to  Palestine  and  lived  some  time  in  Italy. 

286.  THE  BETRAYAL 

Judas,  with  the  bag  of  money  already  in  his  hand,  is 
about  to  betray  Christ.  Dark  background.  Ten  small 
figures. 

Wood,  25%  inches  x 3834  inches. 
Purchased  January  8,  1904. 

114 


SAMUEL  SCOTT 
View  of  Old  Rochester  Bridge 


FRANZ  SNYDERS 
Dead  Game 


SCOTT,  SAMUEL 

English.  Born  in  London  about  1725.  Died  at  Bath,  October,  1772. 

He  is  known  specially  for  his  views  of  London  Bridge  and  West- 
minster Bridge  and  allied  scenes,  which  have  an  interest  for  the  anti- 
quary rather  than  for  the  connoisseur. 

287.  VIEW  OF  OLD  ROCHESTER  BRIDGE 

Plate 

Figures  and  a horseman  are  near  the  toll  house,  which 
leads  on  to  the  bridge.  On  the  far  bank  in  the  center  dis- 
tance is  the  castle.  This  castle  has  often  been  painted, 
notably  by  J.  M.  W.  Turner,  in  his  “Rivers  of  England. ’’ 

22^  inches  x 34^^  inches. 

Purchased  October  1,  1906. 

SEGHERS,  DANIEL 

Flemish.  Born  at  Antwerp,  December  5,  1590.  Died  in  the  same  town,  November 
2,  1661. 

He  was  the  pupil  of  Jan  (Velvet)  Brueghel,  the  landscape  and  animal 
painter.  He  was  one  of  the  earliest  fruit  and  flower  painters  of  the  Low 
Countries,  his  particular  invention  being  to  paint  garlands  and  borders 
of  fruit  and  flowers  around  portrait  medallions,  religious  and  historical 
subjects.  He  collaborated  with  Rubens,  van  Dyck,  Gerard  Seghers  and 
others  for  the  new  Jesuit  church  in  Antwerp,  these  painting  the  figures 
and  Seghers  the  flowers.  His  intimate  knowledge  of  flowers  was  evidently 
botanical,  for  his  painting  is  very  exact.  His  works  were  highly  esteemed. 

288.  FLOWERS 

In  a recessed  niche  in  the  center  the  Madonna  is  repre- 
sented with  the  Infant  in  grisaille.  Flowers  are  arranged 
effectively  round  and  above  the  figures. 

47 inches  x 28%  inches. 

Purchased  June  14, 1904. 

SIDANER.  See  Le  Sidaner 
SIEGERT,  AUGUST 

German.  Born  at  Neuwied,  1820.  Died,  1883. 

A painter  who  studied  at  Diisseldorf,  and  painted  genre  and  historical 
scenes. 

289.  GRACE  BEFORE  MEAT 

11%  inches  x 9%  inches. 


Wilstach  Bequest. 


115 


290. 


NO  GRACE  BEFORE  MEAT 

inches  x 9^  inches. 

Wilstach  Bequest. 

SIMON,  LUCIEN 

French.  Born  in  Paris,  July  18,  1861.  Contemporary. 

At  first  a student  of  the  Julian  Academy,  he  later  came  under  the 
influence  of  the  realistic  movement  in  modern  French  art.  He  is  prin- 
cipally known  for  his  realistic  figure  subjects. 

291.  A PORTRAIT  GROUP 

An  interior  hung  with  pictures.  Six  life-size  and  nearly 
full  length  figures.  The  man  stands  in  the  left  background; 
the  others  seated  across  the  composition. 

7234  inches  x 90j4  inches. 

Purchased  August,  1897. 

SMITH,  XANTHUS 

American. 

292.  COAST  SCENE  OFF  SOUTH  CAROLINA 

Men  with  rowboats  on  the  shore  in  the  left  foreground. 
Sailing  vessels  in  the  right  distance. 

Signed  and  dated  1869. 

12  inches  x 18  inches. 

Wilstach  Bequest. 

SNYDERS,  FRANZ 

Flemish.  Baptized,  November  11,  1579,  at  Antwerp,  where  he  died,  August  19, 1657. 

Snyders  was  pre-eminently  a painter  of  animals,  hunting  scenes  and 
still-life;  in  his  still-life  pictures  he  shows  larders  filled  with  game,  or 
tables  heaped  high  with  food  of  every  kind,  while  a dog  or  cat  sniffs 
enviously  about.  He  was  so  well  thought  of  by  Rubens  and  van  Dyke 
that  they  frequently  collaborated  with  him,  he  painting  the  animals  or 
still-life,  they  the  figures.  In  the  same  way  such  landscape  painters  as 
Jan  Wildens  and  Lueas  van  Uden  also  collaborated  with  him. 

293.  DEAD  GAME 

Plate 

A hare,  a turkey  and  game  birds.  An  eagle  on  the  right 
is  devouring  a white  swan. 

483^  inches  x inches. 

Purchased  January  8,  1904. 

116 


294.  STILL-LIFE  WITH  A BUST  OF  CERES 

In  the  center  a bust  of  Ceres,  inscribed  with  her  name,  is 
encircled  by  a large  wreath  of  luxuriant  fruit,  in  which 
are  birds  and  a squirrel.  On  the  left  and  right  are  male 
and  female  caryatids,  in  grisaille. 

Signed. 

66  inches  x 94  inches. 

Purchased  December,  1899. 

The  Brussels  Museum  contains  a large  picture  (67 
inches  x 71  inches)  of  this  curious  type,  also  by  Franz 
Snyders.  It  is  No.  436  in  the  catalogue  of  1908,  and  is 
illustrated  in  “La  Peinture  au  Musee  Ancien  de  Brux- 
elles,” by  Fierens-Gevaert,  1913,  at  p.  93.  The  descrip- 
tion of  that  picture  may  be  abridged  as:  “Garland  of 
fruit  and  vegetables,  suspended  between  two  stone 
caryatids  of  which  only  the  upper  portions  are  seen.  The 
fruit  includes  melons,  lemons,  apples,  pears,  apricots, 
peaches,  quinces,  medlars,  pomegranates,  blue  and  white 
grapes,  figs,  cherries,  mulberries,  raspberries,  nuts,  goose- 
berries, strawberries;  aubergines,  pumpkins,  artichokes; 
a monkey,  squirrel,  birds,  butterfiies  and  insects.  Prob- 
ably there  was  at  one  time  in  the  center  of  the  garland  a 
bust  or  a statuette  in  grisaille,  perhaps  allegorical,  of 
Pomona,  goddess  of  fruit.  In  this  a Sevres  vase  was  sub- 
stituted a few  years  ago  in  Paris.  The  Wilstach  collec- 
tion contains  a ‘Garland  of  Fruit  and  Vegetables,’  very 
much  like  this  one,  and  a little  smaller  in  size.  In  it  the 
caryatids  are  completely  visible,  and  a female  bust  in 
grisaille  is  painted  in  the  center.” 

For  Snyders,  see  also  under  Peter  Paul  Rubens. 

SOLARIO,  ANDREA,  Attributed  to 

Milanese.  Flourished,  1493-1515. 

Solario  was  a painter  who  came  under  various  influences,  Leon- 
ardesque,  Venetian  and  Flemish.  It  was  possibly  through  Antonello 
da  Messina  that  Solario  learned  the  northern  method  of  painting  in 
oil,  and  derived  his  vivid  realism  in  portraiture. 

295.  SALVATOR  MUNDI 

Half  length  figure  of  the  Saviour,  nude  but  for  the  loin 
cloth,  and  wearing  the  crown  of  thorns. 

Wood,  2434  inches  x 16  inches. 

Purchased  September  27,  1902. 

117 


SOROLLA  Y BASTIDA,  JOAQUIN 

Spanish.  Bom  in  Valencia,  1863.  Contemporary. 

Sorolla  is  one  of  the  most  eminent  artists  of  modern  Spain.  He 
generally  selects  subjects  which  give  him  the  opportunity  to  depict 
dazzling  sunlight,  especially  scenes  on  the  seashore  or  on  the  banks  of 
rivers.  His  rapid  technique  is  admirably  adapted  for  scintillating  effect, 
as  well  as  for  rendering  the  movement  of  swimming  bodies. 

296.  THE  YOUNG  AMPHIBIANS 

A girl,  in  red  dress  and  a straw  hat,  stands  by  the  sea- 
shore. Two  boys  are  in  the  water  on  the  left;  two  other 
boys  enter  the  waves  on  the  right  near  oxen,  which,  dimly 
seen,  are  drawing  a lifeboat  up  the  beach. 

Signed  and  dated  “1903,  Valencia.” 

38  inches  x 51}^  inches. 

Purchased  August  11,  1904. 

SPANISH  SCHOOL,  Seventeenth  Century 

297.  PORTRAIT  OF  A SPANISH  FIELD  MARSHAL 

(Formerly  catalogued  as  a ‘Portrait  of  a Marshal,”  by 
Juan  Bautista  del  Mazo) 

Full  length,  life-size  portrait  of  a Spanish  commander 
in  military  uniform,  with  red  sash,  flat  lace  collar,  black 
hat  with  red  feather,  turned  back  cuffs.  A baton  in  his 
right  hand;  his  gloved  left  hand  resting  on  the  hilt  of  his 
sword. 

80J^  inches  x inches. 

Purchased  January  8,  1904. 


SPRINGER,  CORNELIS 

Dutch.  Born  in  Amsterdam,  May  25,  1817.  Died  at  Hilversum,  near  Amsterdam, 
February  18,  1891. 

Springer  was  one  of  the  best  painters  of  street  scenes  of  his  day. 
He  may  be  called  the  connecting  link  between  the  old  seventeenth  cen- 
tury painters  of  town  views,  like  Berckheyde,  and  the  nineteenth  century 
revivers  of  the  old  tradition,  Witsen  and  Breitner. 

Springer  translated  somewhat  too  literally  what  he  saw,  but  he  always 
put  atmosphere  and  sunshine  in  his  pictures.  As  his  painting  was 
sound,  his  pictures  remain  today  bright  and  colorful.  His  drawings  are 
perhaps  finer  than  his  paintings. 


118 


JAN  STEEN 

The  Fortune  Teller 


298.  STREET  SCENE  IN  AMSTERDAM 

Pedestrians  passing  along  the  street.  A church  in  the 
distance. 

Wood,  203^  inches  x 16%  inches. 

Wilstach  Bequest. 

STAMMEL,  EBERHARD 

German.  Born,  1832.  ' 

299.  LA  PARTIE  DE  MARIAGE 

Two  gentlemen  are  playing  cards  at  a table,  on  the 
far  side  of  which  is  a lady. 

Signed  and  dated  1863, 

22  inches  x 25  inches. 

Wilstach  Bequest. 

STARKENBURG,  W.  T.  VON 

German. 

300.  SCENE  ON  THE  HUDSON  RIVER 

Cattle  in  the  foreground.  The  river  beyond,  with  hills 
on  the  far  side. 

19  inches  x 30  inches. 

Wilstach  Bequest. 

STEEN,  JAN  HAVICKSZ 

Dutch.  Born  in  1626,  at  Leiden,  where  he  was  buried,  February  3,  1679. 

A pupil  of  his  father-in-law,  Jan  van  Goyen,  the  landscapist  {q.  v.), 
Steen  lived  at  Leiden,  The  Hague  and  at  Haarlem.  As  he  was  not 
greatly  estimated  during  his  lifetime,  and  as  he  was  a somewhat  indigent 
fellow,  he  made  his  living  chiefly  by  keeping  an  inn  in  his  native  city. 
This  inn  we  find  often  in  his  pictures,  generally  disorderly,  but  always 
interesting.  In  his  narrow  range  he  had  a force  of  expression  which 
has  never  been  surpassed.  Posterity  has  enhanced  his  reputation  and  he 
is  now  considered  one  of  the  finest  draughtsmen  and  colorists  of  the 
Dutch  school.  He  was  an  inimitable  humorist,  and  could  catch  the 
essential  character  of  a scene  in  a way  almost  equal  to  Brueghel  or 
Brouwer.  Life  to  him  was  a comedy.  He  was  also  a landscapist  and 
filled  his  compositions  with  delightful  bits  of  still-life.  He  had  pro- 
digious fertility,  with  the  natural  result  that  all  his  pictures  are  not  up  to 
the  same  standard.  He  left  over  six  hundred  canvases,  which  are  now 
dispersed  in  the  great  galleries  of  Europe  and  America. 

119 


301. 


THE  FORTUNE  TELLER 
Plate 

A woman  with  a child  in  her  arms,  standing  in  a group 
of  people,  is  telling  a man’s  fortune.  In  the  left  back- 
ground is  an  inn,  with  its  sign  hung  out;  before  it,  towards 
the  right,  are  men  and  women,  a cart  drawn  by  two 
horses,  and  a milkmaid.  Landscape  background  on  the 
right.  Sunny  sky. 

Fully  signed,  with  interlacing  initials. 

395^  inches  x 36J^  inches. 

Purchased  October  5,  1902. 

STEVENS,  ALFRED  EMILE  LEOPOLD 
VICTOR  GHISLAIN 

Belgian.  Born  in  Brussels,  May  11,  1826.  Died  in  Paris,  August  24,  1906. 

Stevens  lived  in  Paris,  and  although  there  is  a Flemish  love  for  still- 
life  and  accessories  in  his  pictures,  he  must  be  considered  as  essentially 
a painter  of  the  Parisienne.  He  painted  charming  women,  stylishly  and 
elegantly  attired,  looking  at  bouquets,  Japanese  fans  or  statuettes,  with 
tasteful  household  surroundings.  But  there  is  this  difference  between  his 
art  and  that  of  the  mere  fashionable  figure  painter,  the  details  of  his 
pictures  are  always  perfectly  harmonized  and  subordinated  to  their 
general  effect.  He  has  been  called  “the  subtle  monographist  of  the 
eternal  feminine  in  art”;  this  subtle  delicacy  is  his  great  charm.  What 
he  sought  was  really  richness  of  color  and  detail,  and  as  he  had  impeccable 
taste  his  pictures  surpass  all  others  of  their  kind. 

302.  “WILL  YOU  GO  WITH  ME,  FIDE?’» 

A lady  about  to  leave  her  apartment,  accompanied  by 
her  small  dog,  “Fide.” 

Wood,  2d3^  inches  x 193^2  inches. 

Dated  1859. 

Wilstach  Bequest. 

STROBENTZ,  FREDERICK 

Hungarian. 

303.  THE  VISIT 

Two  young  women  seated  at  a table  under  the  trees. 
Signed  and  dated  1894. 

42^  inches  x 62^  inches. 

Purchased  August  30,  1895. 

120 


SULLY,  THOMAS 

American.  Born  at  Horncastle,  Lincolnshire,  in  the  month  of  June,  1783.  Died  in 
Philadelphia,  November  5,  1872. 

At  the  age  of  nine  he  was  taken  by  his  parents,  who  were  actors,  to 
America,  where  they  settled  in  Charleston,  S.  C.  In  1803,  he  began 
painting  with  his  elder  brother,  Lawrence,  a miniaturist,  in  Richmond, 
Va.,  but  after  his  brother’s  death,  three  years  later,  he  went  to  New 
York  and  in  Boston  came  under  the  instruction  of  Gilbert  Stuart.  In 
1807,  he  settled  in  Philadelphia,  where  for  sixty-five  years  he  painted 
three  generations  of  distinguished  citizens. 

In  1809,  he  went  to  England,  and  for  nine  months  profited  by  the 
instruction  of  Benjamin  West  and  Sir  Thomas  Lawrence.  In  1838,  he 
made  a second  trip  to  England  to  paint  the  portrait  of  Queen  Victoria. 
Sully’s  long  career  and  prodigious  output  (he  painted  over  2,600  por- 
traits) are  almost  unprecedented.  While  not  a profound  interpreter  of 
character,  he  was  true  to  the  English  tradition,  and  gave  to  his  portraits 
a charm  and  an  air  of  distinction  which  command  respect. 


304.  GYPSY  WOMAN  AND  CHILD 

The  child  is  carried  on  the  back  of  her  mother  and 
places  her  right  arm  around  her  neck.  The  woman  is 
dressed  as  a peasant. 

Signed  and  dated  1852.  On  the  back  written  ‘‘after 
Morelli.” 

30  inches  x 24  inches. 

Wilstach  Bequest. 

Although  traditionally  said  to  be  painted  “after 
Murillo/*  a mistake  for  the  Italian  painter,  Morelli, 
it  more  nearly  approaches  Sully’s  portrait  of  his  daughter, 
Rosalie,  bequeathed  in  1914  to  the  Metropolitan  Museum, 
New  York,  by  F.  T.  S.  Darley. 

305.  PORTRAIT  OF  DR.  BARTON 

A young  officer  in  dark  military  uniform,  frogged  with 
gold  lace,  leaning  his  right  arm  on  the  back  of  a chair. 
Half  length,  to  the  front. 

Inscribed  on  the  back:  “T.  Sully,  1807.” 

24  inches  x 29  inches. 

Given  by  William  Barton  Brewster,  M.  D.,  1919. 

An  early  work.  Charles  Henry  Hart  in  1909  published 
“Thomas  Sully’s  Register  of  Portraits.” 

121 


This  portrait  was  exhibited  in  the  Sully  Memorial 
Exhibition,  Academy  of  Fine  Arts,  Philadelphia,  1922, 

Dr.  William  P.  C.  Barton,  U.  S.  N.,  was  born  at  Phila- 
delphia, November  17,  1786.  Professor  of  Botany  in  the 
University  of  Pennsylvania  and  later  surgeon  in  the  Navy, 
he  became  president  of  the  Linnean  Society.  He  married 
Esther,  daughter  of  Jonathan  Dickinson  Sergeant,  and 
granddaughter  of  David  Rittenhouse,  the  celebrated 
mathematician  and  astronomer.  He  died  February  29, 
1856. 

306.  A PEASANT  GIRL.  (After  Rembrandt) 

This  is  a free  version  of  “The  Girl  at  the  Window,”  by 
Rembrandt  (1606-1669),  which  signed  and  dated  1645  is 
in  the  Dulwich  College  Gallery,  London.  In  it  the  girl 
rests  both  her  arms  on  the  stone  window  sill,  her  left 
grasping  a thin  gold  chain  round  her  neck.  A strong  light 
falls  from  the  left  foreground  on  to  the  whole  figure.  It 
is  31  inches  x 24 inches  and  is  rounded  at  the  top. 

Dated  1857.  Signed  with  the  artist’s  monogram. 

30  inches  x 24  inches. 

Wilstach  Bequest. 


SWAN,  JOHN  MACALLAN,  R.  A. 

English.  Born  in  Old  Brentford,  December  9,  1847.  Died  in  London,  February 
14,  1910. 

He  first  studied  in  the  Worcester  and  Lambeth  Schools,  then  at  the 
Royal  Academy  and  finally  under  Gerome  in  Paris.  An  unceasing 
s^^udent  of  the  structure  and  pose  of  wild  animals,  he  developed  great 
power  in  revealing  their  characteristics  and  natural  surroundings. 


307.  TIGERS  BY  MOONLIGHT 

Two  tigers  moving  majestically  towards  the  right  along 
a river  bank. 

Signed  and  dated. 

27  inches  x 39  inches. 

Purchased  December  18,  1904. 


122 


VINCENZO  TAMAGNI 

Portrait  of  a Young  Lady 


J 


TAMAGNI,  VINCENZO,  Called  Vincenzo  da 
San  Gemignano 

Born  at  San  Gemignano,  near  Siena  about  1492.  Died  about  1530. 

A native  of  a secluded  but  one  time  powerful  city,  he  really  belongs 
to  the  Siena  School.  But  his  artistic  personality  is  obscure.  Vasari 
states  he  went  to  Rome  and  worked  under  Raphael,  but  such  influence 
is  scarcely  recognizable  in  Tamagni’s  work.  Our  picture  seems  to  show 
more  the  Florentine  influence  of  Ghirlandaio. 

308.  PORTRAIT  OF  A YOUNG  LADY 

Plate 

Three-quarters  to  the  left.  In  a red  dress,  with  striped 
sleeves. 

27  inches  x 19^^  inches. 

Purchased  September  30,  1916. 


TANNER,  HENRY  OSSAWA 

American.  Born  in  Pittsburgh,  Pa.,  June  21,  1859. 

Studied  under  Thomas  Eakins  in  Philadelphia  and  under  Laurens 
and  Constant  in  Paris. 

Tanner  is  noted  for  his  religious  pictures,  and  is  an  interesting  figure 
in  the  world  of  art  because  he  is  one  of  the  very  few  painters  of  negro 
birth  to  achieve  success  as  an  artist. 

309.  ANNUNCIATION 

The  Virgin,  in  yellow,  is  seated  on  her  bed  in  an  oriental 
setting;  at  the  left,  a light,  representing  the  Angel  Gabriel. 

Signed  and  dated  1902. 

56H  inches  x 6934  inches. 

Exhibited  at  the  Pennsylvania  Academy  of  Fine  Arts, 
1899. 

Purchased  April  5,  1899. 

TARBELL,  EDMOND  CHARLES 

American.  Born  in  West  Groton,  Mass.,  April  26,  1862. 

A pupil  of  the  Boston  Museum  School  and  of  Lefebvre  in  Paris.  He 
lives  in  New  Castle,  N.  H.  Tarbell’s  work  is  historically  interesting 
because  he  revives,  in  a way,  the  genre  of  the  so-called  “Little  Masters” 
of  Holland,  the  painters  of  interiors,  Terborgh  and  de  Hoogh.  But  he  is 
essentially  modern  in  style.  His  characteristic  works  are  “Girl  Reading” 
in  the  Boston  Museum,  and  the  same  subject  in  the  Cincinnati  Museum. 

123 


310.  AFTERNOON  TEA 

A full  length  figure  of  a lady  seated  on  a sofa;  a cup  of 
tea  on  the  table  on  the  left. 

45  inches  x 40  inches. 

Signed. 

Given  by  John  G.  Johnson,  Esq.,  January  28,  1904. 

TENIERS,  DAVID,  The  Younger 

Flemish.  B.aDtized  ta  Antwerp,  December  15,  1610.  Died  at  Brussels,  April  25, 
1690. 

Pupil  of  his  father,  David  Teniers  the  Elder,  a genre  painter,  and 
greatly  influenced  by  Rubens  and  the  Dutch  genre  painter,  Adriaen 
Brouwer.  Teniers  was  highly  successful,  becoming  the  court  painter 
to  the  Archdukes  Leopold  Guillaume  and  Don  Juan  of  Austria,  regents 
of  Flanders.  His  influence  upon  the  Dutch  and  Flemish  schools  was  far- 
reaching,  a long  line  of  so-called  “Little  Masters”  continuing  his  tradi- 
tion, among  whom  may  be  mentioned  David  Ryckaert  III,  H.  M.  Sorgh, 
Cornelis  Saftleven  and  Gillis  van  Tilborg. 

The  most  beautiful  of  Teniers’  pictures,  i.  e.,  his  earlier  ones,  have 
often  been  mistaken  for  those  of  Brouwer.  His  tone,  at  first  clear  and 
silvery,  later  became  golden,  and  his  later  works  deteriorated  to  a greenish- 
brown. 

He  excelled  in  peasant  scenes,  “Kermesses,”  or  rustic  carnivals 
taking  place  in  front  of  village  inns.  In  these  the  action  is  always  gay 
and  amusing.  He  also  delighted  in  kitchen  scenes  and  tavern  interiors. 
In  all  these  pictures  he  introduced  charming  bits  of  still-life,  and  in  his 
out-of-doors  scenes,  the  landscape  is  carefully  studied.  In  short,  he  was 
a versatile  painter,  truly  expressive  of  Flemish  life  and  interests. 

311.  LANDSCAPE  WITH  FIGURES 

A woman,  accompanied  by  a dog,  leads  a man  along  a 
road  towards  the  left.  More  tc  the  left,  in  the  baek- 
ground,  are  two  men  talking  by  a well-head  near  a stable. 

Signed  with  the  artist’s  monogram. 

25  inehes  x 31J^  inches. 

Purchased  October,  1902. 

THAULOW,  FRITZ 

Norwegian.  Born  at  Christiania,  October  20,  1847.  Died  in  November,  1906. 

Inspired  by  the  French  Impressionist  movement,  painting  en  plein  air, 
Thaulow  sought  the  clear,  crisp  glistening  effects  of  nature.  He  loved 
the  snow-covered  landscapes  of  his  native  country  and  delighted  in 
ice-clad  rivers  and  running  water  irradiated  by  clear  sunlight. 

His  portrait,  painted  by  J.  W.  Alexander,  is  in  this  collection. 

124 


312.  THE  SUN  IN  NORWAY 

A river  running  between  snow-clad  banks.  Hills  in 
the  distance.  Evidently  painted  from  a bridge. 

Signed. 

363^  inches  x 28%  inches. 

Purchased  August  15,  1906. 


TIEPOLO,  GIOVANNI  BATTISTA 

Venetian.  Baptized  in  Venice,  April  16,  1696,  Died  in  Madrid,  Spain,  March  27, 
1770. 

A masterly  executant  of  decorative  and  intensely  original  frescoes 
and  other  pictures,  he  reflects  the  taste  and  spirit  of  Venice,  in  the  last 
moment  of  her  very  marked  but  no  less  magnificent  decline. 

313.  LAST  SUPPER 

Christ  seated  in  the  center,  on  the  far  side  of  the  table, 
gazes  upwards.  On  His  breast  St.  John  leans  his  head. 

23%  inches  x 42%  inches. 

Purchased  January  8,  1904. 

A picture  of  this  subject,  but  different  in  composition 
and  in  measurements,  is  in  the  Louvre.  In  it  a dog  is  in 
the  center  and  dishes  on  the  ground. 

314.  CHRIST  HEALING  THE  SICK 

Christ,  standing  among  a crowd  of  sick  and  crippled, 
orders  the  man  to  “take  up  his  bed  and  walk,”  which  he 
does  under  the  direction  of  an  angel.  Architectural 
setting. 

2634  inches  x 4434  inches. 

Purchased  October  1,  1902. 

This  picture  was  presented  in  the  eighteenth  century  to 
Marco  Antonio  Bono,  a celebrated  lawyer  of  the  Genoese 
Republic,  by  certain  patrician  families  of  Venice,  in 
recognition  of  the  successful  termination  of  a lawsuit 
“which  had  been  pending  for  centuries.”  His  great 
grandson,  Niccolo  Bono  of  Genoa,  sold  the  picture. 

Sedelmeyer:  “Catalogue  of  Paintings,”  1902,  No.  65. 


TILBORGH,  AEGIDIUS  or  GILLES  VAN 

Flemish.  Born  about  1625,  at  Brussels,  where  he  died  about  1678. 

He  was  a pupil  of  David  Teniers  the  Younger  {q.  v.),  whom  he  imi- 
tated, but  he  also  painted  portrait  groups  in  the  manner  of  Gonzales 
Coques  with  whose  pictures  Tilborgh’s  are  often  confused.  He  is  best 
known  for  his  village  fairs  and  market  places. 

315.  THE  GUARD  ROOM 

A number  of  soldiers  in  various  positions;  some  sitting 
on  the  floor,  some  playing  dice  on  a drum,  others  standing. 
Muskets  on  a rack  on  the  right.  An  open  door  in  the 
center  background;  a lantern  hanging  high  up  on  the  left. 

Signed. 

36^  inches  x 4634  inches. 
Given  by  John  G.  Johnson,  Esq.,  June  14,  1904. 


TINTORETTO,  Attributed  to  GIACOMO 
ROBUSTI,  Called  II  Tintoretto 

Born  in  Venice,  1518.  Died  there.  May  31,  1594. 

A pupil  of  Titian  and  influenced  by  Michaelangelo,  Tintoretto  was  the 
culminating  genius  of  the  Renaissance  in  Venice.  He  tried  to  blend  the 
great  gifts  of  his  predecessors  in  his  own  productions,  and  as  he  was  one 
of  the  swiftest  executants,  painting  with  indefatigable  industry,  he 
left  a prodigious  volume  of  work.  His  pictures  are  generally  on  a grand 
scale;  his  mythological  pieces  powerful  in  drawing  and  feeling.  Often 
his  exaggerated  force  reveals  signs  of  the  oncoming  decline,  but  in  his 
portraits  there  is  a simplicity,  combined  with  dignity,  that  ranks  them 
high  in  the  list  of  the  painter’s  works. 

316.  PORTRAIT  OF  A SENATOR 

(Formerly  catalogued  as  ‘‘Portrait  of  a Gentleman  of  the 
Pesaro  Family”) 

Three-quarter  length,  standing,  three-quarters  to  the 
right.  Gray  beard.  Wearing  the  fur-edged  robe  of  a 
Venetian  Senator.  A curtain  and  architectural  setting 
on  the  left;  a peep  of  landscape  seen  through  the  casement 
on  the  right. 

4434  inches  x 51  inches. 

Purchased  October  2,  1900. 


126 


TODD,  HENRY  GEORGE 

English.  Born  in  Ipswich,  1847,  where  he  died  in  September,  1898. 

A painter  of  still-life,  particularly  of  flowers  and  of  fruit. 

317.  POOR  MAN»S  BOUQUET 

Flowers  in  a glass  bottle  and  a metal  vase  on  a wooden 
table. 

Signed  and  dated  1869. 

Wood,  28^  inches  x 23 inches. 

Wilstach  Bequest. 

TROYON,  CONSTANT 

French.  Born  in  Sevres,  August  28,  1810.  Died  in  Paris,  March  20,  1865. 

He  belonged  to  the  group  of  brilliant  landscape  painters.  Decamps, 
Rousseau,  Dupre,  Millet,  Daubigny,  Diaz  and  others.  But  he  is  today 
best  known  for  his  cattle  paintings.  In  that  particular  he  was  the 
master  of  Emile  van  Marcke  (g.  v.) . 

318.  A BOY  WITH  OXEN 

Plate 

A peasant  boy,  with  his  ox  goad,  drives  a pair  of  oxen 
along  a rough  track  through  the  field. 

35  inches  x 50  inches. 

Wilstach  Bequest. 

319.  LANDSCAPE  WITH  SHEEP 

Sheep  in  the  foreground.  A shepherd,  with  other  sheep 
on  the  hillock,  in  the  left  background. 

Signed. 

213^  inches  x 2534  inches. 

Purchased  October  25,  1912. 

ULMANN,  RAOUL  ANDRE 

French.  Born  in  Paris,  1867.  Contemporary. 

320.  THE  WHARF  AT  HAMBURG 

Boats  near  piles  and  a wharf  seen  under  a cloudy  sky. 
Signed  and  dated  at  Hamburg  1901. 

2134  inches  x 26^  inches. 

Purchased  August  19,  1903. 

127 


UMBRIAN  SCHOOL,  Late  Fifteenth  Century 

321.  MADONNA  AND  CHILD  AND  TWO  SAINTS 

Three  small  figures  seen  at  full  length.  The  Infant, 
seated  on  the  Virgin’s  lap,  places  His  right  hand  round  her 
neck.  On  the  left,  at  the  back,  is  St.  John  the  Baptist; 
on  the  right  another  Saint,  perhaps  St.  Ansano. 

Wood,  24J/2  inches  x 183^  inches. 
Purchased  January  8,  1904. 


UMBRIAN  SCHOOL,  Early  Sixteenth  Century 

322.  THE  MADONNA  AND  CHILD  WITH  ST.  JOHN 
THE  BAPTIST  AND  ST.  JEROME 

The  Virgin  is  enthroned  before  a cloth  of  honor.  On  the 
left,  kneels  St.  John,  and  on  the  other  side  St.  Jerome  with 
the  stone  in  his  hand.  The  types  are  feebly  Fiorenzesque 
and  Peruginesque . 

This  picture  was  formerly  attributed  to  Bernardino  di 
Mariotto,  who  flourished  1497-1525,  a painter  first 
influenced  by  Fiorenzo  di  Lorenzo  and  later  by  Luca 
Signorelli.  Prior  to  1918,  it  was  attributed  to  Mariotto 
Albertinelli.  The  artist  was  evidently  some  one  influenced 
by  both  Fiorenzo  and  Perugino.  We  might  suggest 
Andrea  Alovigi,  called  I/Ingegno,  who  was  born  about 
1470,  a pupil  of  Perugino,  and  strongly  Fiorenzesque  in 
manner,  or  Eusebio  di  San  Giorgio  (another  painter  of 
Perugia  and  pupil  of  Perugino). 

Wood,  35  inches  x 27J^  inches. 

Purchased  November  30,  1916. 

UTRECHT,  ADRIAEN  VAN 

Flemish.  Born  at  Antwerp  in  1599,  where  he  died,  October  5,  1652. 

Van  Utrecht  was  one  of  the  group  of  Dutch  and  Flemish  stilhlife 
painters  that  produced  large  and  handsome  compositions  of  poultry, 
dead  game,  fruit  and  flowers,  designed  for  the  dining  rooms  of  great 
country  noblemen.  He  traveled  in  France,  Germany,  Italy  and  Spain, 
gaining  great  renown,  and  often  collaborating  with  such  painters  as 
Rubens,  painting  the  still-life  in  their  pictures. 

128 


CONSTANT  TROYON 
A Boy  with  Oxen 


323.  GAME 

A dead  hare  and  dead  birds  on  a table.  Birds  perched 
on  a bird  cage  to  the  left.  Dead  birds  hanging  from  the 
wall  in  the  right  background. 

293^  inches  x 3934  inches. 

Purchased  January  8,  1904. 


VALLAYER-COSTER,  ANNE 

French.  Born  in  Paris,  1744.  Died  in  1818. 

A painter  of  flowers,  animals  and  still-life. 

324.  STILL-LIFE 

Fresh  picked  apples  in  a basket.  A bottle,  with  a seal 
on  the  cork,  in  the  right  background. 

18J4  inches  x 2434  inches. 

Purchased  September  9,  1911. 


VASARI,  GIORGIO 

Florentine.  Born  in  Arezzo,  Tuscany,  July  30,  1511.  Died  in  Florence,  June  27, 
1574. 

He  is  best  known  as  a writer.  His  “Lives  of  the  Most  Eminent 
Painters”  was  the  first  history  of  art,  and  for  this  work,  although  it  has 
many  inaccuracies,  posterity  is  eternally  in  his  debt.  As  a painter  he 
belongs  to  the  decadence  in  Florence  and  enjoys  but  a secondary  place 
among  the  Italian  painters. 

325.  THE  DEPOSITION 

The  body  of  the  Saviour  is  supported  in  the  lap  of  the 
Virgin.  The  two  thieves  are  still  on  their  crosses.  A large 
number  of  people  gathered  about. 

Wood,  23^4  inches  x 16^  inches. 
Purchased  January  8,  1904. 


VAUTIER,  MARC  LOUIS  BENJAMIN 

German.  Born  in  Merges,  on  the  Lake  of  Geneva,  April  27,  1829.  Died  in  Diissel- 
dorf,  April  25,  1898. 

He  was  one  of  the  genre  painters  of  the  Diisseldorf  school,  specializing 
in  peasant  scenes. 


129 


326.  HE  WILL  NEVER  MAKE  ANYTHING  BUT  AN 

ARTIST 

A blacksmith  tells  one  of  his  friends  that  the  small  boy 
in  disgrace,  and  standing  in  the  foreground,  is  incorrigible. 
Signed  and  dated  1869. 

24  inches  x 20  inches. 

Wilstach  Bequest. 


VELASQUEZ,  DIEGO  RODRIGUEZ  DA 
SILVA  Y,  Attributed  to 

Spanish.  Born  at  Seville,  June  6,  1599.  Died,  August  6,  1660,  at  Madrid. 

Velasquez  is  famous  chiefly  for  liis  portraits  and  historical  composi- 
tions. In  these  he  shows  himself  to  be  the  greatest  master  of  Spain  and 
one  of  the  supreme  masters  of  Europe.  His  fluid  brush  work,  silvery 
tones  and  realism  have  been  the  despair  of  all  painters  succeeding  him. 
Velasquez  was  interested  in  all  phases  of  life.  In  his  youth  he  painted 
still-life,  and  in  his  old  age,  genre.  He  is  known  also  to  have  painted 
landscapes  occasionally,  as  pleasurable  studies  or  sketches. 

327.  LANDSCAPE  IN  SPAIN  WITH  FIGURES 

A curious  assembly,  with  figures  near  the  fountain  in  the 
left  foreground.  Near  by  are  two  columns  surmounted  by 
statues.  Two  nuns,  a few  men,  fashionable  ladies,  cava- 
liers and  private  coaches  in  a park. 

343/2  inches  x 48  inches. 

Purchased  Oetober  13,  1902. 

This  may  well  be  a view  in  the  Pardo,  a royal  hunting 
seat  on  the  Manzanares,  two  leagues  from  Madrid.  The 
‘‘Boar  Hunt,”  by  Velasquez  in  the  National  Gallery,  No. 
197,  and  a landscape  scene  with  figures,  a school  piece.  No. 
1376,  in  the  same  collection,  support  this  theory.  The 
latter  and  this  eanvas  are  of  exactly  the  same  measure- 
ments. 

VENETIAN  SCHOOL,  Sixteenth  Century 
Copy  after  Giovanni  Bellini.  (Formerly  attributed  to 
Marco  Marziale) 

328.  CHRIST  AT  EMMAUS 

Five  small  figures.  Christ  seated  in  the  center  on  the  far 
side  of  the  table.  Two  figures  on  either  side  of  Him.  A 

130 


pilgrim’s  staff  in  the  foreground  and  another  leaning 
against  the  wall  on  the  right. 

Wood,  inches  x 42^^  inches. 

Purchased  January  8,  1904. 

B.  Berenson:  “Venetian  Painting  in  America,”  1916, 
p.  119,  points  out  that  Giovanni  Bellini  painted  a “Christ 
at  Emmaus”  for  Giorgio  Cornaro.  It  was  engraved  in 
1760,  by  Pietro  Monaco.  “The  two  copies  in  American 
collections  of  Bellini’s  picture,”  he  adds,  “are  consequently 
welcome.  If  they  lack  merit  of  their  own,  they  will  at 
least  serve  to  check  and  control  Monaco’s  engraving. 
The  earlier  of  the  two  American  copies  is  a panel  in  the 
Memorial  Hall,  Philadelphia,  Wilstach  Collection  (form- 
erly) No.  268.  Far  inferior  to  the  feeble  but  dainty  Berlin 
version,  it  has  the  advantage  of  being  much  larger,  and  of 
representing  the  original  better  in  that  one  respect.  The 
second  copy  is  in  the  Walters  Collection  at  Baltimore.” 


VERBOECKHOVEN,  EUGENE  JOSEPH 

Belgian.  Born  in  Warneton  in  West  Flanders,  June  8,  1799.  Died  in  Brussels, 
January  19,  1881. 

Verboeckhoven’s  father  was  a sculptor;  from  him  he  learned  to  model 
animals  in  clay,  and,  as  a result,  later  turned  to  rendering  animals  in 
paint.  Unfortunately  his  attitude  towards  nature  was  an  artificial  one; 
his  cows  and  sheep  were  unreal — too  clean  and  pretty,  and  his  landscapes 
too  carefully  trimmed.  His  pictures,  therefore,  must  not  be  judged  for 
their  naturalism,  but  for  their  philosophic  or  elegiac  qualities,  which 
reflect  the  taste  of  the  day. 

329.  A SHEPHERD  WITH  ANIMALS 

An  Italian  contadino^  with  oxen,  goats  and  sheep  at  a 
stone  trough,  which  is  inscribed:  “S.  P.  Q R.” 

Signed  and  dated  1842. 

Wood,  S}/2  inches  x 12  inches. 

Wilstach  Bequest. 

330.  THE  INTERIOR  OF  A STABLE 

Sheep  and  chickens  in  a stable. 

Signed. 

2934  inches  x 4234  inches. 


Wilstach  Bequest. 


131 


331. 


SHEEP,  DUCKS  AND  CHICKENS 

Wood,  6H  inches  x 9 inches. 

Wilstach  Bequest. 

332.  THE  RESTING  PLACE 

An  Italian  contadino  lies  on  the  ground  near  a flight  of 
stone  steps  that  lead  to  a ruined  castle  in  the  right  back- 
ground. On  the  left  are  his  dog  and  white  horse.  A river 
in  the  left  background. 

Signed  and  dated  1845 (.^). 

Wood,  8}/2  inches  x 12  inches. 

Wilstach  Bequest. 


VITERBO,  FRANCESCO  DA 

An  unknown  painter,  evidently  an  imitator  of  Pintoricchio. 

333.  THE  MADONNA  AND  CHILD  WITH  SAINTS 

The  Virgin  is  enthroned,  having  on  the  left  St.  Francis, 
with  the  stigmata,  and  St.  Jerome,  with  his  cardinal’s  hat. 
On  the  right  are  St.  Catharine,  with  wheel  and  palm 
branch,  and  St.  Anthony  of  Padua,  with  flames  in  his 
right  hand  and  a book  in  his  left. 

Inscribed  along  the  base  of  the  throne,  “Sedes  tua, 
Virgo  Gloriosa,  in  seculum  seculi.” 

Inscribed  along  the  front  with  the  names  of  the  Saints 
standing  immediately  above,  and  the  name:  “Francischus 
de  Gabrielis  de  Viterbio,  pinxit  Anno  Domini,  MCCCCC- 
III,  XXVII,  JUNII  (June  27,  1503). 

53  inches  x 63  inches. 

Purchased  July  11,  1907. 


VLIET,  HENDRICK  CORNELISZ  VAN 

Dutch.  Born  in  1611  or  1612,  at  Delft,  where  he  was  buried,  October  28,  1675. 

According  to  Houbraken,  he  was  the  pupil  of  his  uncle,  Willem  van 
Vliet,  and  of  Michiel  Jansz  van  Mierevelt  (q.  v.),  both  portrait  painters. 
Hendrick  van  Vliet  began  thus  as  a portraitist,  but  later  turned  to  paint- 
ing church  interiors,  doubtless  inspired  by  his  contemporaries,  Gerard 
Houckgeest  and  Emanuel  de  Witte.  As  an  architectural  painter  he 
excels;  he  had  a fine  sense  of  decoration,  and  great  feeling  for  light. 

132 


334.  INTERIOR  OF  THE  “NEW”  CHURCH  AT  DELFT 

Numerous  figures.  Three  men  and  a dog  on  the  left; 
the  sexton  on  the  right  digging  the  grave  of  William  the 
Silent.  More  figures  in  the  background,  seen  through 
a screen.  Hatchments  on  the  columns. 

31  inches  x 26  inches. 

Purchased  October  15,  1902. 

There  is  no  doubt  as  to  this  being  a view  in  the  “Nieuwe 
Kerk,”  Delft,  and  showing  the  tomb  of  William  the  Silent. 
The  National  Gallery  of  Ireland  contains  a painting.  No. 
530,  of  this  subject,  233^  inches  x 18  inches  on  wood. 
Others  by  him  are  at  Dessau,  Rotterdam  and  Stockholm. 

His  view  of  the  “Old  Church  at  Delft,”  showing  the 
interior,  with  the  choir  in  the  distance,  is  in  the  Amsterdam 
Gallery,  No.  2556;  another  is  at  The  Hague. 

VOLLON,  ALEXIS 

French.  Contemporary. 

335.  LITTLE  RED  CAP 

A child  in  an  interior,  seated  towards  the  right.  A bowl 
in  her  lap. 

Signed  and  dated  1916. 

Wood,  105^  inches  x inches. 
Purchased  April  16,  1917. 

VOLLON,  ANTOINE 

French.  Born  at  Lyons,  April  20,  1833.  Died  in  Paris,  August  27,  1900. 

Vollon  was  the  pupil  of  the  genre  and  still-life  painter,  Ribot.  He 
painted  portraits,  landscapes  and  still-lives  of  flowers  and  fruit.  In 
these  latter  he  won  his  greatest  success,  becoming  knotvn  as  the  “ Chardin 
of  his  time.” 

336.  THE  PORT  OF  MARSEILLES 

Sailing  vessels  and  rowboats;  the  quay  in  the  middle 
distance.  Buildings  beyond. 

Signed. 


Purchased  December  8, 1894. 

133 


423^  inches  x 55  inches. 


337.  AFTER  THE  BALL 

A bouquet  of  flowers,  a fan  and  black  evening  cloak  on 
a red  upholstered  chair.  A metal  ewer  and  dish  on  the 
table  behind,  with  a blue  curtain  on  the  left. 

66  inches  x 50  inches. 

Wilstach  Bequest. 

VOLTZ,  FRIEDRICH  JOHANN 

German.  Born  at  Nordlingen,  October  31,  1817.  Died  at  Munich,  June  25,  1886. 
He  was  the  son  of  the  genre  painter,  Johann  Michael  Voltz;  he  him- 
self is  known  as  a painter  of  pastoral  subjects. 

338.  LANDSCAPE  AND  CATTLE 

Cattle  are  by  a water  sluice  near  a water  mill,  near 
which  a man  is  standing.  Ducks  in  the  water. 

Signed  and  dated  1870,  Munich. 

1534  inches  x 35 inches. 

Wilstach  Bequest. 

Purchased  by  Mr.  Wilstach  in  1870. 

339.  LANDSCAPE  AND  CATTLE 

A shepherd,  a shepherdess  and  a dog  are  on  the  bank 
at  the  right.  Cattle  are  standing  by  the  water. 

Signed. 

1534  inches  x 35^  inches. 
Wilstach  Bequest.  Purchased  by  Mr.  Wilstach  in  1870. 


VOS,  CORNELIS  DE 

Flemish.  Born  at  Hulst  about  1585.  Died  at  Antwerp,  May  9,  1651. 

There  were  many  painters  of  the  name  of  de  Vos,  and  contemporaries, 
but  of  different  families,  at  Antwerp,  Mechlin  and  Hulst.  This  painter, 
whose  portrait  of  van  Dyck  is  well  known,  produced  several  portraits 
and  historical  pictures.  De  Vos,  like  Rubens  and  van  Dyck,  was  one  of 
those  most  sought  after  by  the  patrician  families  of  the  day.  His  popu- 
larity was  merited,  for  there  are  few  painters  of  portrait  groups  in  the 
history  of  art  who  are  able  to  obtain  the  elegance  of  coloring  and  com- 
position which  we  find  in  his  pictures. 

340.  A PORTRAIT  GROUP 

Plate 

The  father  in  black,  with  lace  collar,  is  seated  on  the 
left.  By  his  side  stands  a small  boy,  with  a rather  older 

134 


CORNELIS  DE  VOS 
A Portrait  Group 


JAMES  McNEILL  WHISTLER 

The  Lady  with  the  Yellow  Buskin 


one  further  back.  More  to  the  right,  in  front  of  the  table, 
is  a little  girl,  who  stands  near  the  mother,  who  holds  a 
baby  in  her  arms.  The  eldest  daughter  is  seated  at  the 
extreme  right  corner,  in  front.  Tapestry  background,  with 
the  framed  portraits  of  a man  and  woman  hanging  in  the 
center. 

Signed  and  dated  1631. 

, 673^  inches  x inches. 

Purchased  November  6, 1902. 

The  piece  of  paper  on  the  table  is  inscribed:  “A  Sr. 
Anthony  Reinierson  Coopman  tot  Antwerpen.”  [To  the 
Seigneur  Anthony  Reinierson,  Merchant  of  Antwerp.] 

In  the  Brussels  Museum  is  a portrait  group.  No.  688, 
by  Marten  de  Vos  (1531-1603),  of  “ Antoine  Anselme,  his 
wife  and  two  eldest  children,”  dated  1577,  which  may  be 
said  to  have  set  the  style  for  such  a family  group  as  this. 

As  to  the  strict  authenticity  of  this  as  from  the  hand  of 
Cornelis  de  Vos  the  Elder,  there  will  be  no  doubt.  Refer- 
ence to  the  “Artist,  his  wife  and  two  daughters,”  at  Brus- 
sels, the  “Hutten  family,”  at  Munich,  and  the  “Young 
Married  Couple,”  at  Berlin,  will  bear  this  out.  It  will  be 
specially  interesting  to  compare  this  group  with  an  almost 
identical  group,  “Family  Group”  of  unknown  provenance, 
added  to  the  Perry  Belmont  Collection  in  New  York.  A 
comparison  of  this  picture  with  the  reproduction  in  the 
Burlington  Magazine,  Vol.  XIV,  p.  54,  might  almost 
justify  one  in  describing  the  latter  group  as  representing 
the  same  family.  The  only  difference,  apart  from  the 
composition  and  the  setting,  is  that  the  costumes  have 
changed,  the  parents  have  aged,  and  one  more  child  has 
been  born. 


WEENICX,  JAN 

Dutch.  Born  in  1640,  at  Amsterdam,  where  he  died,  September  20,  1719. 

He  was  the  pupil  of  his  father,  Jan  Baptist  Weenicx,  perhaps  also  of 
his  uncle,  Gysbert  d’Hondekoeter.  He  was  thus  the  cousin  of  the 
famous  Melchior  d’Hondekoeter,  painter  of  poultry  scenes  {q.  v.). 
With  the  exception  of  the  last  named,  Jan  Weenicx  was  the  greatest  of  a 
distinguished  family.  He  can  well  be  compared  with  Hondekoeter  as 
a sumptuous  decorator,  just  as  one  can  contrast  him  with  Pieter  Claesz 
{q.  V.).  His  pictures  are  as  far  removed  from  the  plebeian  kitchen  type 
as  the  lord  of  a manor  from  one  of  his  peasant  tenants. 

135 


The  nobleman  or  country  gentleman  has  returned  from  the  hunt;  by 
his  garden  steps  he  has  thrown  his  trophies,  and  leaves  to  us  the  pleasant 
contemplation  of  gorgeously  plumaged  swans,  carved  urns,  balustrades, 
marble  terraces  and  gardens.  These  decorations  were,  in  fact,  designed 
for  princely  halls,  and  the  largest  collection  of  Weenicx’s  paintings  be- 
longed to  the  Kurfiirst  Johann  Wilhelm  of  Dusseldorf  at  Schloss 
Bensberg. 

341.  STILL-LIFE 

Dead  game  in  the  foreground.  A classical  vase  in  the 
left  background,  and  on  it  a monkey.  Near  it  is  a spaniel. 
Landscape  to  the  right. 

203^8  inches  x 1834  inches. 

Purchased  August  13,  1901. 


WHISTLER,  JAMES  ABBOTT  McNEILL 

American.  Born  in  Lowell,  Mass.,  1834.  Died  in  London,  July  17,  1903. 

Whistler  is  designated  as  of  the  American  school,  but  as  a matter  of 
fact,  he  may  as  well  be  called  French  or  English.  At  the  age  of  nine 
his  father  took  him  to  Petrograd.  Later  he  was  sent  for  a brief  time  to 
the  West  Point  Military  Academy,  but  Whistler  soon  forsook  America 
to  pass  practically  his  entire  career  abroad.  His  first  important  picture 
was  hung  at  the  Royal  Academy  in  1860.  Etcher  and  lithographer  also, 
his  harmonies,  his  symphonies  and  his  nocturnes  were  produced  primarily 
to  satisfy  himself.  The  delicate  expressiveness  of  his  art  is  entirely 
personal. 

342.  THE  LADY  WITH  THE  YELLOW  BUSKIN 
(Portrait  of  Lady  Archibald  Campbell) 

Plate 

Full  length  figure  of  a woman  in  dark  blue  skirt,  black 
cape  and  black  bonnet.  She  is  fastening  her  left  glove  as 
she  walks  away  into  the  left  distance.  Dark  background. 

84  inches  x 43  inches. 

Purchased  November  30,  1895. 

“Nevertheless  as  there  are  always  exceptions,  he  found 
somebody,  Mrs.  {i.e..  Lady)  Meux,  the  wife  of  a rich 
brewer,  who  soon  after  his  return  from  Venice  had  the 
courage  to  commission  him  to  paint  her  portrait.  For 
at  that  time,  and  during  several  years,  it  was  an  act  of 
courage  to  let  oneself  be  painted  by  Whistler.  . . . 
Nevertheless,  Mrs.  Meux,  undisturbed  by  the  opinion  of 
others,  ventured  to  commission  a first  portrait,  a second 
and  a third. 


136 


“After  this  Lady  Archibald  Campbell  also  came  to  be 
painted  by  Whistler.  She  was  a tall  woman  of  great  dis- 
tinction, slim,  fair  and,  in  addition,  intelligent  and  of 
independent  spirit.  She  was  an  ideal  model  for  a painter. 
Whistler  took  advantage  of  the  fact  and  made  several 
striking  portraits  of  her.  He  set  himself  to  paint  her  in 
unforeseen  poses.  But  over  and  above  the  fact  that  the 
lady,  as  a beauty,  was  capricious,  she  found  herself  sub- 
jected to  bantering  and  reproaches  from  her  circle  in 
having  chosen  a painter  so  decried  as  Whistler  then  was. 
...  It  was  with  difficulty  that  he  got  Lady  Archibald 
to  continue  to  pose,  so  that  the  most  advanced  portrait 
at  least  might  be  finished.  The  others  were  abandoned 
and  destroyed.  In  the  portrait  brought  to  a good  con- 
clusion the  pose  certainly  has  an  unusual  character,  but 
it  is,  nevertheless,  quite  natural.  The  lady  withdraws 
herself  with  an  air  of  disdain,  which  well  accords  with  her 
beauty,  buttoning  her  glove  and  turning  her  head  as  if 
to  cast  a last  glance  at  the  spectator  before  disappearing. 
We  need  no  information  to  recognize  that  the  person  so 
painted  belongs  to  the  circle  of  princesses. 

“The  picture  was  shown  at  the  Grosvenor  Gallery  in 
1884,  at  the  Salon  in  Paris  in  1885,  and  at  Munich  in 
1888,  as  the  portrait  of  Lady  Archibald  Campbell.  Then 
Whistler  changed  the  title  and  called  it  La  Dame  au 
Brodequin  jaune,  after  the  laced  boot  of  the  foot  in  move- 
ment. It  is  under  this  title  that  it  figured  in  the  collected 
exhibition  of  Whistler’s  at  Messrs.  Boussod  Valadon  in 
London,  in  1892,  and  that  it  is  definitely  placed  in  the 
Wilstach  Collection  at  Philadelphia.” — Theodore  Duret 
(Tr.  F.  Rutter),  “Whistler,”  1917,  pp.  65-68. 


WILLAERTS,  FERDINAND 

Belgian.  Born  in  Ghent.  Contemporary. 

343.  BELGIAN  CANAL 

Houses  on  the  bank  on  the  right;  trees  on  the  left  in 
front  of  more  houses. 

Signed. 

Purchased  August  18,  1896. 

137 


44 inches  x 33  inehes. 


WILLEMS,  FLORENT 

Belgian.  Born  at  Lieges,  January  8,  1823.  Died  in  Paris,  where  he  lived,  1905. 
He  was  an  historical  and  genre  painter, 

344.  ‘‘I  WAS  THERE»» 

An  interior.  A lady  is  showing  a cavalier  a painting  of  a 
Naval  engagement. 

Signed. 

Wood,  25  inches  x 19  inches. 

Wilstach  Bequest. 

345.  SIGNED  AND  SEALED 

A lady  standing  by  a table  and  sealing  a letter.  A page 
in  the  right  background. 

Signed. 

Wood,  2334  inches  x 19  inches. 

Wilstach  Bequest. 


WITTKAMP,  JEAN  BARNARD 

Belgian.  Born,  September  29,  1820,  at  Riesenbeck,  Westphalia.  Died  at  Amster- 
dam in  June,  1885. 


346.  THE  WIDOW 


She  lights  a candle  in  a church; 
Wilstach  Bequest. 


a child  by  her  side. 

40  inches  x 30  inches. 


WYLIE,  ROBERT 

American.  Born  in  the  Isle  of  Man  in  1839.  Died  in  France,  February  13,  1877. 
He  is  called  an  American  because  as  a child  he  was  brought  by  his 
parents  to  America,  and  he  first  studied  painting  at  the  Philadelphia 
Academy.  But  in  1865,  he  went  to  Europe  to  continue  his  studies  in 
sculpture  under  Barye.  Later  he  settled  at  Pont  Aven,  Finistere,  where 
he  became  successful  as  a painter  of  Breton  peasants. 

347.  THE  POSTMAN 

Ten  figures  gathered  together  in  a kitchen.  The  post- 
man, seated  on  the  right  with  a little  girl  standing  near 
him,  is  reading  aloud  a letter  just  received. 

453^  inches  x 57  inches. 

Dated  1868. 

Wilstach  Bequest. 

138 


348.  A ROMAN  GIRL 

Half  length  figure,  leaning  with  her  arms  on  a parapet, 
her  head  turned  towards  the  left. 

Painted  in  1869. 

32  inches  x 25^  inches. 

Wilstach  Bequest. 


ZAMACOIS,  EDUARDO 

Spanish.  Born  at  Bilbao,  1842.  Died  in  Madrid  in  1871. 

A pupil  of  Federico  de  Madrazo  at  Madrid  as  well  as  of  Meissonier 
in  Paris. 

The  eighteenth  century  Spanish  school  was  noted  for  a group  of 
men,  among  whom  may  be  mentioned  Fortuny,  Madrazo,  Domingo, 
Martin  Rico  (g.  v.),  and  Casanova,  who  excelled  in  little  pictures, 
generally  of  historical  character,  or  of  scenes  depicting  Spanish  life,  made 
up  of  a scintillating  medley  of  color.  Like  Meissonier’s  their  pictures 
are  of  miniature  finesse,  but  their  chief  charm  is  their  jewel-like  brilliancy. 
Fortuny  was  the  greatest  of  these  painters,  but  Zamacois  comes  a close 
second.  He  delighted  in  scenes  of  the  sixteenth  and  seventeenth  cen- 
turies, depicting  monks  and  friars,  mostly  comic  in  character,  or  at  best 
not  seriously  intended. 

349.  A DECORATIVE  PAINTER 
(Formerly  entitled  “Trop  de  Sang”) 

A Spaniard  painting  the  “Christ  on  the  Cross”  as  a 
mural  decoration  on  the  staircase  of  a monastery  in  Spain, 
with  monks  standing  near. 

Signed  and  dated  1868. 

143^2  inches  x 21j/2  inches. 

Wilstach  Bequest. 

350.  BEFORE  THE  BATTLE 

A soldier  is  putting  his  spurs  on,  as  he  rests  his  foot  on 
a chair.  His  armor  is  on  the  floor  on  the  right.  A large 
flag  in  the  left  background. 

Signed. 

Companion  picture  to  No.  351. 

Wood,  7 inches  x 5 inches. 


Wilstach  Bequest. 


139 


351.  AFTER  THE  BATTLE 

A soldier,  with  his  right  leg  amputated,  stands  erect  and 
defiant.  He  wears  a yellow  doublet,  and  a cap  with  a 
feather. 

Signed. 

Companion  picture  to  No.  350. 

Wood,  7 inches  x 5 inches. 

Wilstach  Bequest. 


ZIEM,  FELIX  FRANgOIS  GEORGES  PHILI- 
BERT 

French.  Born  at  Beaune,  France,  February  25,  1821.  Died,  1911. 

He  was  a painter  of  marine  and  architectural  subjects.  In  pursuit  of 
color  he  traveled  to  Venice,  Rome  and  Constantinople,  and  is  perhaps 
best  known  for  his  dazzling  studies  of  Venice  and  the  Adriatic. 

352.  MILLS  IN  HOLLAND 

A man  in  a punt  on  a canal,  on  the  far  bank  of  which 
are  two  tall  water  mills. 

31  inches  x 52  inches. 

Purchased  June,  1894. 


ZIMMERMAN,  ALBERT 

German.  Born  in  Zittau,  Saxony,  September  20,  1809.  Died  in  Munich,  November 
1«.  1888. 

A painter  of  heroic  landscapes,  the  most  famous  of  three  brothers, 
Albert,  Robert  and  Richard  {q.  v.). 

353.  BELLAGIO,  LAKE  COMO 

Peasants  with  goats  on  a roadside  looking  down  on  to 
the  lake. 

Signed. 

37  inches  x 50  inches. 


Wilstach  Bequest. 


140 


ZIMMERMAN,  RICHARD 

German.  Born  in  Zittau,  March  2,  1820.  Died,  February  5,  1875,  in  Munich. 
Pupil  of  his  elder  brother,  Albert,  and  a painter  of  genre. 

354.  TOO  LATE  FOR  THE  CARS 

Group  of  excited  people  gesticulating  to  the  guard  who 
indicates  the  departed  cars. 

Signed  and  dated  1855. 

28  inches  x 32  inches. 

Wilstach  Bequest. 

ZO,  HENRI 

French.  Born  in  Bayonne,  Basses-Pyrenees. 

Pupil  of  Achille  Zo,  Leon  Bonnat  and  Albert  Maignan  in  Paris. 

355.  A SPANISH  FAMILY 

Full  length  figures  of  a man,  his  wife  and  child  standing 
in  an  interior  that  has  a tiled  floor. 

Signed. 

813^  inches  x 54%  inches. 

Purchased  August  9,  1905. 


ZtiGEL,  HEINRICH  VON 

German.  Born  at  Muhhardt  in  Swabia,  October  22,  1850.  Died 

Von  Ziigel  is  well  known  as  a painter  of  cattle;  his  works  may  be 
found  in  the  museums  of  Leipzig,  Berlin,  Munich  and  other  German 
cities.  He  was  Professor  of  Art  in  the  Academies  of  Karlsruhe  and 
Munich. 

356.  CATTLE 

A yoke  of  oxen,  attached  to  a plough  and  standing  in  a 
field.  A dog  on  the  ground,  on  the  left.  Sheep  on  the 
right. 

Signed  and  dated  1883. 

17%  inches  x 25  inches. 

Given  by  John  G.  Johnson,  Esq.,  October  19,  1907. 

141 


ZURBARAN,  FRANCISCO 

Spanish.  Baptized  November  7,  1598.  Died  at  Madrid  in  1662. 

lu  his  youth  a pupil  of  Juan  de  Roelas,  he  came  to  be  known  as  “the 
Spanish  Caravaggio”  from  his  admiration  for  that  painter.  He  was 
painter  to  the  king  of  Spain,  and  did  much  work  for  the  Carthusians. 

357.  THE  ANNUNCIATION 

The  Virgin,  kneeling  before  her  prie-Dieu  on  the  right, 
turns  her  head  at  the  entrance  of  the  Archangel  Gabriel. 
The  angelic  host  in  the  sky. 

Signed:  “Frans,  de  Zurbaran,  1650.” 

83^  inches  x 1233^  inches. 

Purchased  October  2,  1900. 

ZURBARAN,  FRANCISCO,  Attributed  to 

358.  PORTRAIT  OF  A PEASANT 

Plate 

A peasant  in  loose,  brown  doublet,  slashed  with  white, 
and  a cloak  over  his  knees,  holds  a pipe  in  his  hand.  He 
leans  against  the  table  on  the  right,  on  which  are  a char- 
coal burner,  a stoneware  vase  and  a goblet.  He  is  seated 
under  an  arch  with  the  tendrils  of  the  vine  climbing  on  it. 

dlj/g  inches  x inches. 

Given  by  John  G.  Johnson,  Esq.,  September  15,  1903. 

It  is  difficult  to  realize  that  this  picture  and  the  dry  and 
formal  “Annunciation”  can  both  be  by  Francisco  Zur- 
baran. It  may  well  be  that,  as  time  advances  and  our 
knowledge  of  the  art  of  Spain  increases,  this  may  be 
assigned  to  some  such  artist  as  Pablo  Legote,  who  was 
influenced  by  Ribera  and  Herrera  and  worked  in  Seville 
between  1615-1665. 

The  picture  is,  nevertheless,  signed  “F.  Zubran  fct.” 


142 


FRANCISCO  ZURBARAN 

Portrait  of  a Peasant 


■ I 


BRONZES 


ANTOINE  LOUIS  BARYE 

French.  1796-1875. 


1. 


2. 


3. 


4. 


5. 

6. 


7. 


8. 

9. 

10. 

11. 

12. 


LION  AND  SERPENT 

/ 

TIGER  DEVOURING  AN  ANTELOPE 
EAGLE  AND  HERON 
LION,  PASSANT 

PANTHER  DEVOURING  A STAG 
LEOPARD 
BUFFALO  COW 
LEOPARD  , AND  PANTHER 

Bas  Relief. 

LEOPARD  AND  PANTHER 

Bas  Relief. 

LIZARD 

SMALL  TURTLE 
TURTLE 


13 


TWO  RABBITS 

143 


JUSTIN  CHRYSOSTOME  SANSON 

French.  Born,  1833. 

14.  IL  SALTARELLO 
Signed  and  dated,  “Rome,  1865.” 

UNKNOWN 

15.  TWO  MEN  WRESTLING 

16.  INDIAN  HUNTER  ON  HORSEBACK 

17.  MORNING.  (After  Thorwaldsen) 

18.  NIGHT.  (After  Thorwaldsen) 


144 


MARBLES 


HIRAM  POWERS 

American.  1805-1873. 

19.  BUST  OF  GEORGE  WASHINGTON 

, Dated  1864. 


WILLIAM  HENRY  RINEHART 

American.  1825-1874. 

20.  BUST  OF  WILLIAM  P.  WILSTACH 

Dated  1870. 


145 


HI— V'arious  XIX  Century  Schools  lU 


II — XIX  and  XX  Century  American 

and  French  Schools  II 


IV 


IV — Late  Italian  Schools 


V — Italian  and  Spanish  Schools,  XVll 
Century 


Main 

Corridor 

Contemporary 

Schools 


I— English  and  American  Schools,  XIX 
Century 


VI— Early  Italian  Schools 


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